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In bowls he makes my senses swim,
Till the gale breathes of nought but him!
When I drink, I deftly twine
Flowers, begemm'd with tears of wine;
And, while with festive hand I spread
The smiling garland round my head,
Something whispers in my breast,
How sweet it is to live at rest!
When I drink, and perfume stills
Around me all in balmy rills,
Then as some beauty, smiling roses,
In languor on my breast reposes,
Venus! I breathe my vows to thee,
In many a sigh of luxury!

When I drink, my heart refines,
declines,-

And rises as the

cup

Rises in the genial flow

That none but social spirits know,
When youthful revellers, round the bow
Dilating, mingle soul with soul!
When I drink, the bliss is mine,—
There's bliss in every drop of wine!
All other joys that I have known,
I've scarcely dared to call my own;
But this the Fates can ne'er destroy,
Till Death o'ershadows all my joy!

See, in yonder flowery braid,
Cull'd for thee, my blushing maid,
How the rose, of orient glow,
Mingles with the lily's snow;
Mark, how sweet their tints agree,
Just, my girl, like thee and me!

ODE LII.'

AWAY, away, you men of rules,
What have I to do with schools?

They'd make me learn, they 'd make me think,
But would they make me love and drink?
Teach me this, and let me swim
My soul upon the goblet's brim;
Teach me this, and let me twine
My arms around the nymph divine!
Age begins to blanch my brow,
I've time for nought but pleasure now.
Fly, and cool my goblet's glow
At yonder fountain's gelid flow;
I'll quaff, my boy, and calmy sink
This soul to slumber as 1 drink!
Soon, too soon, my jocund slave,
You'll deck your master's grassy grave;
And there's an end-for ah! you know,
They drink but little wine below!

ODE LI.'

FLY not thus, my brow of snow,
Lovely wanton! fly not so.
Though the wane of age is mine,
Though the brilliant flush is thine,
Still I'm doom'd to sigh for thee,
Blest, if thou couldst sigh for me!

Or this:

Indi mi mena

Mentre lictro ebro deliro

Baccho in giro

Per la vaga aura serena.

When youthful revellers, round the bowl, Dilating, mingle soul with soul!] Subjoine to Gail's edition of Anacreon, there are some curious letters upon the eiro of the ancients, which appeared in the French Journals. At the opening of the Odeon, in Paris, the managers of the spectacle requested Professor Gail to give them some uncommon name for the fêtes of this institution. He suggest ed the word "Thiase," which was adopted; but the literati of Paris questioned the propriety of it, and addressed their criticisms to Gail, through the medium of the public prints. Two or three of the letters he has inserted in his edition, and they have elicited from him some learned research on the subject.

1 Alberti has imitated this ode; and Capilupus, in the following epigram, has given a version of it:

Cur, Lalage, mea vita, meos contemnis amores?
Cur fugis e nostra pulchra puella sinu?
Ne fugias, sint sparsa licet mea tempora canis,
Inque tuo roseus fulgeat ore color.
Aspice ut intextas deceant quoque flore corollas
Candida purpureis lilia mixta rosis.

Oh! why repel my soul's impassion'd vow,
And fly, beloved maid, these longing arms?
Is it, that wintry time has strew'd my brow,
And thine are all the summer's roseate charms?

See the rich garland, cull'd in vernal weather,
Where the young rosebud with the lily glows;
In wreaths of love we thus may twine together,
And I will be the lily, thou the rose !

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Longepierre, Barnes, etc,

1 This is doubtless the work of a more modern poet than Anacreon; for at the period when he lived, rhetoricians were not known."-Degen.

Though the antiquity of this ode is confirmed by the Vatican manuscript, I am very much inclined to gres in this argument against its authenticity; for, though the dawnings of rhetoric might already have appeared, the first who gave it any celebrity was Corax of Syracuse, and he flourished in the century after Anacreon.

Our poet anticipated the ideas of Epicurus, in his aversion to the labours of learning, as well as his devotion to Πασαν παιδειαν μακαριοι φεύγετε, said voluptuousness. the philosopher of the garden in a letter to Pythocles Teach me this, and let me twine My arms around the nymph divine!] By zpoons AopeSTS here, I understand some beautiful girl; in the same "Golden" is manner that Auzios is often used for wine. frequently an epithet of beauty. Thus in Virgil, "Venus aurea;" and in Propertius, "Cynthia aurea." Tibullus, bowever, calls an old woman "golden."

The translation d'Autori Anonimi, as usual, wantons on this passage of Anacreon:

E m' insegni con piu rare
Forme accorte d' involare
Ad amabile beltado

Il bel cinto d' onestade.

And there's an end-for ah! you know,

They drink but little wine below!] Thus the witty Mainard:

Memory wakes her tragic trance,

And wings me lightly through the dance.

Come, Cybeba, smiling maid!

Cull the flower and twine the braid;
Bid the blush of summer's rose
Burn upon my brow of snows;

And let me, while the wild and young
Trip the mazy dance along,
Fling my heap of years away,
And be as wild, as young as they.
Hither haste, some cordial soul!
Give my lips the brimming bowl;
Oh! you will see this hoary sage
Forget his locks, forget his age.
He still can chaunt the festive hymn,
He still can kiss the goblet's brim;
He still can act the mellow raver,
And play the fool as sweet as ever

ODE LIV.'

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METHINKS, the pictured bull we see Is amorous Jove-it must be he! How fondly blest he seems to bear That fairest of Phoenician fair!

How proud he breasts the foamy tide, And

spurns the billowy surge aside! Could any beast of vulgar vein Undaunted thus defy the main ?

La Mort nous guette; et quand ses lois
Nous ont enfermés une fois

Au sein d'une fosse profonde,
Adieu bons vins et bons repas,
Ma science ne trouve pas

Des cabarets en l'autre monde.

From Mainard, Gombauld, and De Cailly, old French poets, some of the best epigrams of the English language are borrowed.

Bid the blush of summer's rose

Burn upon my brow of snows, etc.] Licetus, in his Hieroglyphica, quoting two of our poet's odes, where he calls for garlands, remarks, "Constat igitur floreas coronas poetis et potantibus in symposio convenire, non autem sapientibus et philosophiam affectantibus." "It appears that wreaths of flowers were adapted for poets and revellers at banquets, but by no means became those who had pretensions to wisdom and philosophy." On this principle, in his 152d chapter, he discovers a refinement in Virgil, describing the garland of the poet Silenus as fallen off; which distinguishes, he thinks, the divine intoxication of Silenus from that of common drunkards, who always wear their crowns while they drink. This, indeed, is the "labor ineptiarum" of commentators.

No: he descends from climes above, He looks the God, he breathes of Jove!

ODE LV.'

WHILE We invoke the wreathed spring,
Resplendent rose! to thee we 'll sing;
Resplendent rose! the flower of flowers,
Whose breath perfumes Olympus' bowers;
Whose virgin blush, of chasten'd dye,
Enchants so much our mortal eye.
When Pleasure's bloomy season glows,
The Graces love to twine the rose ;
The rose is warm Dione's bliss,
And flushes like Dione's kiss!
Oft has the poet's magic tongue

The rose's fair luxuriance sung;

there is mention of this coin, and of a temple dedicated by the Sidonians to Astarte, whom some, it appears, confounded with Europa.

Moschus has written a very beautiful idyl on the story of Europa.

No: he descends from climes above,

He looks the God, he breathes of Jove.] Thus Moschus:
Κρύψε θεον και τρεψε δεμας και γίνετο ταυρός.

The God forgot himself, his heaven for love,
And a bull's form belied the almighty Jove.

1 This ode is a brilliant panegyric on the rose. "All antiquity (says Barnes) has produced nothing more beautiful." From the idea of peculiar excellence which the ancienta attached to this flower, arose a pretty proverbial expression, used by Aristophanes, according to Suidas, poda μ3sspuxas, "You have spoken roses, a phrase somewhat similar to the "dire des fleurettes" of the French. In the same idea of excellence originated, I doubt not, a very curious application of the word podov, for which the inquisitive reader may consult Gaulminus upon the epithalamium of our poet, where it is introduced in the romance of Theodorus. Muretus, in one of his elegies, calls his mistress his rose: Jam te igitur rursus teneo, formosula, jam te (Quid trepidas ?) teneo; jam, rosa, te teneo.

Now I again embrace thee, dearest,
(Tell me, wanton, why thou fearest?)
Again my longing arms infold thee,
Again, my rose, again I hold thee.

Eleg. 8.

This, like most of the terms of endearment in the modern Latin poets, is taken from Plautus; they were vulgar and colloquial in his time, and they are among the elegancies of the modern Latinists.

Passeratius alludes to the ode before us, in the beginning of his poem on the Rose:

Carmine digna rosa est; vellem caneretur ut illam
Teius arguta cecinit testudine vatos.

Resplendent rose! to thee we'll sing.] I have passed

He still can kiss the goblet's brim, etc.] Wine is pre-over the line uv Tapi auges μstany; it is corrupt in this scribed by Galen as an excellent medicine for old men: original reading, and has been very little improved by the "Quod frigidos et humoribus expletos calefaciat," etc.; annotators. I should suppose it to be an interpolation, if it but Nature was Anacreon's physician. were not for a line which occurs afterwards: 1p dy ques

There is a proverb in Eriphus, as quoted by Athenæus, "that wine makes an old man dance, whether

which says, he will or not."

Λόγος εστ' αρχαίος, ου κακώς έχων,

Οίνον λέγουσι τους γέροντας, ω πατέρα
Πείθειν χορεειν ου θέλοντας

1 "This ode is written upon a picture which represented the rape of Europa."-Madame Dacier.

It may perhaps be considered as a description of one of those coins, which the Sidonians struck off in honour of Europa, representing a woman carried across the sea by a bull. Thus Natalis Comes, lib. viii. cap. 23. "Sidonii numismata cum fumina auri dorso insidente ac mare transfretante, cuderunt in sus honorem. In the little treatise upon the goddess of Syria, attributed very falsely to Lucian,

λέγωμεν.

The rose is warm Dione's bliss, etc.] Belleau, in a note upon an old French poet, quoting the original here a podσT' asupμa, translates it, "comme les délices et mignardises de Vénus."

Oft has the poet's magic tongue

The rose's fair luxuriance sung, etc.] The following is mance of Achilles Tatius, who appears to have resolved a fragment of the Lesbian poetess. It is cited in the rothe numbers into prose. E TO USERTY MASKED • Zaus επιθείναι βασιλέα, το ρόδον ων των ανθέων εβασίλευε, γης ερύθημα, κάλλος αστράπτον. εστι κόσμος, φυτών αγλαισμα, οφθαλμός ανθέων, λειμωνος προξενεί, εκείδεσι φύλλοις κόμα, ευκίνητοις πεταλοι Έρωτος πνει, Αφροδίτην τρύφα, το πεταλον το Ζέφυρο γελά.

And long the Muses, heavenly maids,
Have rear'd it in their tuneful shades.
When, at the early glance of morn,
It sleeps upon the glittering thorn,
"Tis sweet to dare the tangled fence,
To cull the timid flow'ret thence,
And wipe, with tender hand, away
The tear that on its blushes lay!
'Tis sweet to hold the infant stems,
Yet dropping with Aurora's gems,
And fresh inhale the spicy sighs
That from the weeping buds arise.
When revel reigns, when mirth is high,
And Bacchus beams in every eye,
Our rosy fillets scent exhale,
And fill with balm the fainting gale!
Oh, there is nought in nature bright,
Where roses do not shed their light!
When morning paints the orient skies,
Her fingers burn with roseate dyes;
The nymphs display the rose's charms,
It mantles o'er their graceful arms;
Through Cytherea's form it glows,
And mingles with the living snows.
The rose distils a healing balm,
The beating pulse of pain to calm;
Preserves the cold inurned clay,
And mocks the vestige of decay:

If Jove would give the leafy bowers
A queen for all their world of flowers,
The rose would be the choice of Jove
And blush the queen of every grove.
Sweetest child of weeping morning,
Gem, the vest of earth adorning,
Eye of flow'rets, glow of lawns,
Bud of beauty nursed by dawns:
Soft the soul of love it breathes,
Cypria's brow with magic wreathes,
And, to the Zephyr's warm caresses,
Diffuses all its verdant tresses,

Till, glowing with the wanton's play,
It blushes a diviner ray!

When morning paints the orient skies,

Her fingers burn with roseat dyes, etc.] In the original here, he enumerates the many epithets of beauty, borrowed from roses, which were used by the poets, apa TWV σOOWY. We see that poets were dignified in Greece with the title of Bages; even the careless Anacreon, who lived but for love and voluptuousness, was called by Plato the wise Anacreon. Fuit hæc sapientia quondam.

Preserves the cold inurned clay, etc.] He here alludes to the use of the rose in embalming; and, perhaps (as Barnes thinks,) to the rosy unguent with which Venus anointed the corpse of Hector. Homer's Iliad. . It may likewise regard the ancient practice of putting garlands of roses on the dead, as in Statius, Theb. lib. x. 782.

hi sertis, hi veris honore soluto

Accumulant artus patriaque in sede reponunt
Corpus odoratum.

Where "veris honor," though it mean every kind of flowers, may seem more particularly to refer to the rose, which our poet, in another ode, calls expos Mixnx. We read, in the Hieroglyphics of Pierius, lib. Iv. that some of the ancients used to order in their wills, that roses should be annually scattered on their tombs; and he has adduced some sepulchral inscriptions to this purpose.

And mocks the vestige of decay.] When he says that this flower prevails over time itself, he still alludes to its efficacy in embalment (tenera poneret ossa rosa. Propert. lib. i. eleg. 17,) or perhaps to the subsequent idea of its fragrance surviving its beauty; for he can scarcely mean to praise for duration the "nimium breves flores" of the rose. Philostratus compares this flower with love, and says, that they both defy the influence of time; xpovov & OUT Epes, OUT! poda OLDER. Unfortunately the similitude lios not in their duration, but their transience.

And when, at length, in pale decline,
Its florid beauties fade and pine,
Sweet as in youth, its balmy breath
Diffuses odour e'en in death!

Oh! whence could such a plant have sprung?
Attend-for thus the tale is sung.
When, humid, from the silvery stream,
Effusing beauty's warmest beam,
Venus appear'd, in flushing hues,
Mellow'd by Ocean's briny dews;
When, in the starry courts above,
The pregnant brain of mighty Jove
Disclosed the nymph of azure glance,
The nymph who shakes the martial lance!
Then, then, in strange eventful hour,
The earth produced an infant flower,

Which sprung, with blushing tinctures dress'd,
And wanton'd o'er its parent breast.

The gods beheld this brilliant birth,
And hail'd the Rose, the boon of earth!
With nectar drops, a ruby tide,
The sweetly orient buds they dyed,
And bade them bloom, the flowers divine
Of him who sheds the teeming vine;
And bade them on the spangled thorn
Expand their bosoms to the morn.

ODE LVI.'

HE, who instructs the youthful crew

To bathe them in the brimmer's dew,

Sweet as in youth, its balmy breath

Diffuses odour e'en in death.] Thus Caspar Barlæus, ir his Ritus Nuptiarum:

Ambrosium late rosa tunc quoque spargit odorem,
Cum fluit, aut multo languida sole jacet.

Nor then the rose its odour loses,
When all its flushing beauties die;
Nor less ambrosial balm diffuses,
When wither'd by the solar eye!
With nectar drops, a ruby tide,

The sweetly orient buds they dyed, etc.] The author of the "Pervigilium Veneris" (a poem attributed to Catullus, the style of which appears to me to have all the laboured luxuriance of a much later period) ascribes the tincture of the rose to the blood from the wound of Adonis

rosm

Fusce aprino de cruore

according to the emendation of Lipsius. In the following epigram this hue is differently accounted for:

Illa quidem studiosa suum defendere Adonim,
Gradivus stricto quem petit ense ferox,
Affixit duris vestigia caca rosetis,
Albaque divino picta cruore rosa est.

While the enamour'd queen of joy
Flies to protect her lovely boy,

On whom the jealous war-god rushes;
She treads upon a thorned rose,

And while the wound with crimson flows,

The snowy flowret feels her blood, and blushes!

1 "Compare with this elegant ode the verses of Uz, lib i. die Weinlese."-Degen.

This appears to be one of the hymns which were sung at the anniversary festival of the vintage; one of the vavos, as our poet himself terms them in the fifty-ninth ode. We cannot help feeling a peculiar veneration for these relics of the religion of antiquity. Horace may be supposed to have written the nineteenth ode of his second book, and the twenty-fifth of the third, for some bacchanalian celebration of this kind.

And taste, uncloy'd by rich excesses,
All the bliss that wine possesses!
He, who inspires the youth to glance
In winged circlets through the dance!
Bacchus, the god, again is here,
And leads along the blushing year;
The blushing year with rapture teems,
Ready to shed those cordial streams
Which, sparkling in the cup of mirth,
Illuminate the sons of earth;
And when the ripe and vermil wine,
Sweet infant of the pregnant vine,
Which now in mellow clusters swells,
Oh! when it bursts its rosy cells,
The heavenly stream shall mantling flow,
To balsam every mortal woe!

No youth shall then be wan or weak,
For dimpling health shall light the cheek;
No heart shall then desponding sigh,
For wine shall bid despondence fly!
Thus-till another autumn's glow
Shall bid another vintage flow!

Lie faintly glowing, half-conceal'd,
Within the lucid billows veil'd.
Light as the leaf that summer's breeze
Has wafted o'er the glassy seas,
She floats upon the ocean's breast,
Which undulates in sleepy rest,
And stealing on, she gently pillows
Her bosom on the amorous billows.
Her bosom, like the humid rose,
Her neck, like dewy-sparkling snows,
Illume the liquid path she traces,
And burn within the stream's embraces!
In languid luxury soft she glides,
Encircled by the azure tides,
Like some fair lily, faint with weeping,
Upon a bed of violets sleeping!
Beneath their queen's inspiring glance,
The dolphins o'er the green sea dance,
Bearing in triumph young Desire,
And baby Love with smiles of fire!
While, sparkling on the silver waves,
The tenants of the briny caves
Around the pomp in eddies play,
And gleam along the watery way.

ODE LVII.'

AND whose immortal hand could shed
Upon this disk the ocean's bed?
And, in a frenzied flight of soul,
Sublime as Heaven's eternal pole,
Imagine thus, in semblance warm,

The Queen of Love's voluptuous form,
Floating along the silvery sea
In beauty's naked majesty?

Oh! he has given the raptured sight

A witching banquet of delight;

And all those sacred scenes of Love, Where only hallowed eyes may rove,

ODE LVIII.1.

WHEN gold, as fleet as Zephyr's pinion,
Escapes like any faithless minion,
And flies me (as he flies me ever,)
Do I pursue him? never, never!

sion ought to be; glowing but through a veil, and stealing upon the heart from concealment. Few of the ancients have attained this modesty of description, which is like the golden cloud that hung over Jupiter and Juno, impervious to every beam but that of fancy.

Her bosom, like the humid rose, etc.] "Padav (saya an anonymous annotator) is a whimsical epithet for the bosom." Neither Catullus nor Gray have been of his opinion. The former has the expression,

En hic in roseis latet papillis.

And the latter,

Lo! where the rosy-bosom'd hours, etc.

Which, sparkling in the cup of mirth, Illuminate the sons of earth!] In the original OTO αστόνον κομίζων. Madame Dacier thinks that the poet here had the nepenthé of Homer in his mind. Odyssey, lib. iv. This nepenthe was a something of exquisite charm, Crottus, a modern Latinist, might indeed be censured for infused by Helen into the wine of her guests, which had the too vague an use of the epithet "rosy," when he applies i power of dispelling every anxiety. A French writer, with very elegant gallantry, conjectures that this spell, which made the bowl so beguiling, was the charm of Helen's conversation. See de Meré, quoted by Bayle, art. Helène.

1 This ode is a very animated description of a picture of Venus on a discus, which presented the goddess in her first emergence from the waves. About two centuries after our poet wrote, the pencil of the artist Apelles embellished this subject, in his famous painting of the Venus Anad vomené, the model of which, as Pliny informs us, was the beautiful Campaspe, given to him by Alexander; though, according to Natalis Comes, lib. vii. cap. 16, it was Phryne who sat to Apelles for the face and breast of this Venus.

There are a few blemishes in the reading of the ode before us, which have influenced Faber, Heyne, Brunck, etc. to denounce the whole poem as spurious. Non ego paucis offendar maculis. I think it is beautiful enough to be authentic.

to the

eyes: "e roseis oculis."

young Desire, etc.] In the original_Iμapes, who was the same deity with Jocus among the Romans. Aurelius Augurellus has a poem beginning

Invitat olim Bacchus ad cœnam suos
Comon, Jocum, Cupidinem.
Which Parnell has closely imitated:

Gay Bacchus, liking Estcourt's wine,
Á noble meal bespoke us;

And, for the guests that were to dine,
Brought Comus, Love, and Jocus, etc.

1 I have followed Barnes's arrangement of this ode; it deviates somewhat from the Vatican MS. but it appeared to me the more natural order.

When gold, as fleet as Zephyr's pinion,

Escapes like any faithless, minion, etc.] In the original And whose immortal hand could shed Ο δραπέτας ο χρυσος. There is a kind of pun in the Upon this disk the ocean's bed?] The abruptness of words, as Madame Dacier has already remarked; for ChryaрM TIS TOPSUTS OTO, is finely expressive of sudden sos, which signifies gold, was also a frequent name for a admiration, and is one of those beauties which we cannot slave. In one of Lucian's dialogues, there is, I think, a but admire in their source, though, by frequent imitation, similar play upon the word, where the followers of Chry they are now become languid and uuimpressive. sippus are called golden fishes. The puns of the ancients are, in general, even more vapid than our own some of

And all those sacred scenes of love,

Where only hallow'd eyes may rove, etc.] The picture the best are those recorded of Diogenes.

here has all the delicate character of the semi-reducta Ve

And flies me (as he flies me ever,) etc.] A d', me mo nus, and is the sweetest emblem of what the poetry of pas-suger This grace of iteration has already been taken

ODES OF ANACREON.

No, let the false deserter go,

For who would court his direst foe?
But, when I feel my lighten'd mind
No more by ties of gold confined,
I loosen all my clinging cares,

And cast them to the vagrant airs.
Then, then I feel the Muse's spell,
And wake to life the dulcet shell;
The dulcet shell to beauty sings,
And love dissolves along the strings!
Thus, when my heart is sweetly taught
How little gold deserves a thought,
The winged slave returns once more,
And with him wafts delicious store
Of racy wine, whose balmy art
In slumber seals the anxious heart!
Again he tries my soul to sever
From love and song, perhaps for ever!
Away, deceiver! why pursuing
Ceaseless thus my heart's undoing?
Sweet is the song of amorous fire;
Sweet are the sighs that thrill the lyre;
Oh! sweeter far than all the gold
The waftage of thy wings can hold.
I well remember all thy wiles;
Thy wither'd Cupid's flowery smiles,
And o'er his harp such garbage shed,
I thought its angel breath was fled!
They tainted all his bowl of blisses,
His bland desires and hallow'd kisses.
Oh! fly to haunts of sordid men,
But rove not near the bard again;
Thy glitter in the Muse's shade

Scares from her bower the tuneful maid;
And not for worlds would I forego
That moment of poetic glow,
When my full soul, in Fancy's stream,
Pours o'er the lyre its swelling theme.
Away, away! to worldlings hence,
Who feel not this diviner sense,
And, with thy gay fallacious blaze,
Dazzle their unrefined gaze.

notice of. Though sometimes merely a playful beauty, it is peculiarly expressive of impassioned sentiment, and we may easily believe that it was one of the many sources of that energetic sensibility which breathed through the style of Sappho. See Gyrald. Vet. Poet. Dial. 9. It will not be said that this is a mechanical ornament by any one who can feel its charm in those lines of Catullus, where he complains of the infidelity of his mistress, Lesbia.

Coli, Lesbia nostra, Lesbia illa,

Illa Lesbia, quam Catullus unam,

Plus quam se atque suos amavit omnes,
Nunc, etc.

ODE LIX.'

[graphic]

Ποθών κυπελλα κόρνης.
Horace has "Desiderique temperare poculum," not figu-
ratively, however, like Anacreon, but importing the love-
philtres of the witches. By "cups of kisses" our poet may
allude to a vourite gallantry among the ancients, of drink-
ing when the lips of their mistresses had touched the brim:

"Or leave a kiss within the cup,
And I'll not ask for wine,"

as in Ben Jonson's translation from Philostratus; and Lucian
has a conceit upon the same idea, "va x wing and x
"" that you may at once both drink and kiss."

Degen, in the true spirit of literary scepticism, doubts that this ode is genuine, without assigning any reason for such a suspicion. Non amo te, Sabidi, nec possum dicere quare;" but this is far from satisfactory criticism.

Swears that the herbage Heaven had spread,

Was sacred as the nuptial bed, etc.] The original here has been variously interpreted. Some, in their zeal for our author's purity, have supposed that the youth only persuades violation of the nuptial vow. The turn which I have given her to a premature marriage. Others understand from the it is somewhat like the sentiment of Heloisa, "amorem conwords por DE, that he seduces her to a jugio, libertatem vinculo præferre." (See her original Letters.) The Italian translations have almost all wantoned mium lubricus aspici." upon this description: but that of Marchetti is indeed "pi

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