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And purchase from the hand of death
As lull'd in slumber I was laid,
Sleep! again my joys restore,
Let us drain the nectar'd bowl,
Let us raise the song of soul
To him, the god who loves so well
The nectar'd bowl, the choral swell!
Him, who instructs the sons 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. Gotting. 1783, p. 7."
And cradled in the Paphian grove;
Him, that the snowy Queen of Charms
Which sweet intoxication knows; Medenbach proposes in his Amenitates 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, The goblet rich, the board of friends,
Whose sunny foam bedews the air.
Grasp the bowl; in nectar sinking,
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.
Again to clasp the shadowy maid! Longepiert. Monsieur Le Fevre, in a nute upon this ode, enters into an elaborate and learned justification of drunkenness; and
“ Sleep! again my joys restore, this is probably the cause of the severe reprehension which On! 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 he, 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 troining arms.] Robertellus, upon -tchen all my dream of joys,
the epithalamium of Catullus, mentions an ingenious aerivaDimpled girls and ruddy boys,
tion of Cytherea, the name of Venus, apr TS X509519 Toug All were gone!) Nonnus says of Bacchus, almost in the spätas, which seems to hint that “Love's fairy furours are same words that Anacreon uses,
I lost, when not concealed."
Oh! can the tears we lend to thought
When Spring begems the dewy scene,
How sweet to walk the velvet green,
And hear the Zephyr's languid sighs,
As o'er the scented mead he flies! In the dance of joy appears,
How sweet to mark the pouting vine, Age is on his temples hung,
Ready to fall in tears of wine ;
And with the maid whose every sigh
Where the embowering branches meet-
Oh! is not this divinely sweet ? '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 No, no, the heart that feels with me, the Anthologia :
Can never be a slave to thee!) Longopierre quotes an
epigram here from the Anthologia, on account of the simiΛουσάμενοι, Προδικη, πυκασωμεθα, και τον ακρατο larity of a particular phrase ; it is by no means anacreontic, Ελκωμεν, κυλικας μειζονος αραμενοι.
but has an interesting simplicity which induced me to paraΡοιος ο χαιροντων εστι βιος. ειτα τα λοιπα
phase it, and may atone for its intrusion. Γηρας κωλυσει, και το τελος θανατος.
Ελπις, και συ, τυχη, μεγα χαιρετι. τον λιμεν' ουρον. Of which the following is a loose paraphrase :
Ουδεν εμοι κ' υμιν, παιζετε τους μετ' με.
At length to Fortune, and to you,
Delusive Hope! a last adieu.
The charm that once beguiled is o'er,
And I have reach'd my destined shore !
Away, away, your flaitering arts
May now betray some simpler hearts,
And you will smile at their believing,
And ihey shall weep at your deceiving !
Bacchus shall bid my winter bloom,
And Venus dance me to the tomb !) The same commen
tator has quoted an epitaph, written upon our poet by Julian Age is on his temples hung,
where he makes him give the precepts of good-fellowship But his heart-his heart is young !] Saint Pavin makes even from the tomb. the same distinction in a sonnet to a young girl.
Πολλακι μεν τοδ' αιισα, και εκ τυμίου δε βοησω
Πινετε, πριν ταυτην αμφιβαλησθε κονιν.
This lesson oft in life I sung,
And from my grave I still shall cry,
“ Drink, mortal drink, while time is young,
Ere death has made thee cold as I."
And with the maid, whose every sigh
Is love and bliss, etc.) Thus Horace:
Quid habes illius, illius
Quo spirabat amores,
Que me surpuerat mihi.
And does there then remain but this,
And hast thou lost each rosy ray
Of her, who breathed the soul of bliss,
And stole me from myseif away?
Some airy nymph, with fluent limbs,
melody; for this is a nicety of progression of which modern
music is not susceptible. ODE XLIIL
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
supp* Tou Avæxpsoutos. Neanthes of Cyzicus, as quoted Blushes o'er each fervid head,
by Gyraldus, asserts the same. Vide Chabot. in Horat On
the words “ Lesboum barbiton," in the first ode. With many a cup and many a smile The festal moments we beguile.
And then, what nectar in his sigh,
As o'er his lip the murmurs die!) Longepierre hus And while the harp, impassion'd, flings
quoted here an epigram from the Anthologia: Tuneful rapture from the strings,
Κουρη τις μ' εφιλησε τσοθεσπερα χειλεσιν υγροις.
Νικταρ ε ην το φίλημα. το γαρ στομα νεκταρος επνιι 1 The character of Anacreon is here very strikingly de
Νυν μοδυω το φιλη μ%, τoλυν τον έρωτα τσιπωλ@ς. 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 epigrams imputed to Anacreon is the following; it is the
The kiss that she left on my lip only one worth translation, and it breathes the same senti
Like a dew-drop shall lingering lie; ments with this ode:
'Twas nectar she gave me to sip,
'Twas nectar I drank in her sigb! Ου φιλος, ος κρητηρι παρα τλεω οινοποταζων, Νικεα και πολεμον δακρυοντα λεγε:
The dew that distill'd in that kiss,
To my soul was volupluous 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 wave 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 with me
The Genius of Festivity!) Kop0s, the deity or genius
of mirth. Philostratus, in the third of his pictures (as all And while the harp, impassion'd, flings
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, after 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 onioform- 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 us, the 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 the roses of Pieria." See the notes on the fifty. scale, simplicity was by no means the characteristic of their fifth ode.
" Compare with this forty-fourth ode (saya the German tal Collected by Meibomius.
annotator) the beautiful ode of Uz, die Roso."
Drink and smile, and learn to think
While virgin Graces, warm with May,
ODE XLVII. Within this goblet, rich and deep,
'T is 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 hecd 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 rainly 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 od: is infinitely more impressive, as in And in the goblet, rich and deep,
Shakspeare, Cradle our crying woes to sleep!
But look, the morn, in russet mantle clad,
Walks o'er the dew of yon bigh 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,
his paternal seat at Teos; there, in a little villa at some dis
tance from the city, which commanded a view of the Ægean Gives to the breeze her spangled wing; Sea and the islands, he conteniplated the beauties of nature,
and enjoyed the felicities of retirement. Vide Barnes, in
Anac. vita. ♡ xxxv. This supposition, however unauthienWhen with the blushing, naked Gracos,
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 poculiar to
Monsieur Chevreau says, that Gregory Nazianzenus bar Anacreon."-Degen.
paraphrased somewhere this description of Spring. I canWith some celestial, glowing maid, etc.). The epithet not find it. See Chevreau, Euvres Mêlées. Bajuxon T05, which he gives to the nymph, is literally " full- "Compare with this ode (says Degen) the verses of Hagebosomed :" if this was really Anacreon's taste, the heaven dorn, bouk fourth, der Frühling, and book fifth, der Mai." of Mahomet would suit him in every particular. See the
While virgin Graces, warm with May, Koran, cap. 72.
Fling roses o'er her dery way!) De Pauw reads, Xxpo. Then let us never vainly stray,
T25 poise Spuovgiv, " the roses display their graces."
This In scarch 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 To di Torror sonification, to the boldness of which Regnier has objected 7&rwjx• ; according to Regnier's parapbrase of the line: very frivolously. E che val, fuor della strada
The murmuring billows of the deep
Have languish'd into silent sleep, etc.) It has been
justly remarked that the liquid flow of the line ****UNIT** I The fastidious affectation of some commentators has 2 sdnvm is perfectly expressive of the tranquillity which it
describes. denounced this ode as spurious. Degen pronounces the four last lines to be the patch-work of some miserable ver- And cultured field, and rinding stream, etc.). By Bpoo sificator; and Brunck condemns the whole ode. It appears Tev #py*, “the works of men," says Baxter,) he means to me to be elegantly graphical; full of clegant expressions cities, temples, and towns, which are then illuminated by and luxurious imagery. The abruptness of 1fo sus expos the beams of the sun. CUVEYTOS is striking and spirited, and has been imitated
But brandishing a rosy flask, etc.) Askog was a kind rather languidly by Horace:
of leathern vessel for wine, very much in uso, as should Vides ut alta stet nive candidum
seem by the proverb atxos *** Sudax0s, which was applied Boracte
to those who were intemperate in cating and drinking. This Let those who pant for glory's charms
Who, with the sunshine of the bowi, 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 g;
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.). Auctos is the title which 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 baccbanal cries,) and accordingly Oh! I think it sweeter far
supposed they worshipped Bacchus.
1 Faber thinks this spurious; but, I believe, be is singular To fall in banquet than in war!
in his opinion. It has all the spirit of our author. Like the wreath which he presented in the dream," smells of Anacreon."
The form of this ode, in the original, is remarkable. It ODE XLIX.'
is a kind of song of seven quatrain atanzas, each beginning
with the line Wuen Bacchus, Jove's immortal boy,
Οτ' εγω τιω τον δινον, The rosy harbinger of joy,
The first stanza alone is incomplete, consisting but of three lines.
"Compare with this poem (says Degen) the verses of proverb is mentioned in some verses quoted by Athenæus, Hagedorn, lib. v. der Wein, where that divine poet bas from the Hesione of Alexis.
wantoned 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 inebriety often renders the support of a stick very necessary. (says Longepierre) whom wine has inspired with poetry.
Visions of poetic zeal !) " Anacreon is not the only ons loy 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 : jay bid under that tree, or, as others will have it, because its leaves resemble those of the vine. Other reasons for its
Οινος τοι χαριεντι μεγας τελιι ιππος αοιδα, consecration, and the use of it in garlands at banquets, may
Υδρ δε τινων, καλον ου τικoις 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, pretation of Regnier and others :
Which hurries a bard to the skies!
And, while we dance through breathing bowers, etc.) If
some of the translators had observed Doctor Trapp's cav1 This, the preceding ode, and a few more of the same tion, with regard to soavaroscoe je ev Upxes, “Cave ne cacharacter, are inerely chansons à boire. Most likely they luni 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 imagine, with rapture in Greece; but that interest- the passage. Could our poet imagino such bombast as 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 wil s'imagine most enthusiastic reader; and much less by a phlegmatic Que, dans un tourbillon plein de parfums diren, grammarian, who sces nothing in them but dialocis and Bacchus m'emporte dans les airs, particles.
Rempli de sa liqueur divine.