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BY THE TRANSLATOR Επι ρυδινοις ταπησε, Τgioς πoτ’ ο μελιστης “Ιλαρος γελων εκειτο, Μεθυων τε και λυριζων" Αμφι αυτον οι δ' ερωτες “Απαλοι συνεχορευσαν" “ο βελη τα της Κυθηρης Εποιει, ψυχος οιστους “Ο δε λευκα πρφυροισι Κρινα συν ροδοισι πλεξας, Εφιλει στεφων γεροντα • Η δε θεαων ανασσα, ΣΟΦΙΗ ποτ' εξ ολυμπου Εσορωσ' Ανακρέοντα, Εσορωσα “ους ερωτας, "Υπομειδικας ειπε Σοφε δ' ως Ανακρεοντα Τον σοφωτατον απαντων, Καλεουσιν οι σοφισται, Τι, γερων, τεον βιον μεν Τοις ερωσι, το Λυαιω, Κ' ουκ εμοι κρατειν εδωκας; Τι φιλημα της Κυθηρης, Τι κυπελλα του Λυαίου, Αιει γ' ετρυφησας αδων, Ουκ εμους νομους διδασκων, Ουκ εμον λαχων αωτον και “ο δε Τηϊος μελιστης Μητε δυσχεραινε, φησι, “Οτι, θεα, σου γ' ανευ μεν, “Ο σοφωτατος απαντων Παρα των σοφων καλουμαι Φιλεω, πιω, λυριζω, Μετα των καλων
γυναικων Αφελως δε τερπνα παιζω, “Ως λυρη γαρ, εμον ητορ Αναπνει μονους ερωτας" Ωδε βιοτου γαληνην Φιλεων μαλιστα παντων, Ου σοφος μελωδος ειμι ; "ις σοφώτερος μεν εστι;
CORRECTIONS OF THE PRECEDING
SUGGESTED BY AX EMINENT GREEK SCHOL
Επι ρόδινους ταπησι Τηίος ποτ' ο μελισ
'ΕΠΙ πορφυρίους τάπησι Τήίος ποτ' ώδοποιός ιλαρος γελών έκειτο, μεθύων τε και λυρίζων
της Κυθηρης 29. Χαλεπον το μη φιλησαι 30. Εδοκουν οναρ τροχαζειν 31. Υακινθινω με ραβδω • 32. Επι μυρσιναις τερειναις 33. Μεσονυκτιους ποθ' ώραις 34. Μακαριζομεν σε, τεττιξ 35. Ερως ποτ' εν ροδοισι 36. 'Ο πλουτος ειχε χρυσον 37. Δια νυκτος εγκαθευδων 38. “Ιλαροι πιωμεν οινον 39. Φιλω γεροντα τερπνόν 40. Επειδη βροτος ετυχθην 41. Τι καλον εστι βαδιζειν 42. Ποθεω μεν Διονυσου 43. Στεφανους μεν κροταφοισι 44. Το ροδον το των ερωτων 45. 'Οταν πινω τον οινον 46. Ιδε, πως εαρος φανεντος 47. Εγω γερων μεν ειμι 49. “Οταν ο Βακχος εισελθη 49. Του Διος και παις Βακχος 50. “Οτ' εγω πιω τον οινον 51. Μη με φυγης ορωσα 52. Τι με τους νομους διδασκεις 53. Or’ εγω νεων ομιλον 54. Ο ταυρος ούτος, ω παι 55. Στεφανηφορου μετ’ Ηρος 56. Ο τον εν πονοις ατειρη 57. Αρα τις τορευσε ποντον 58. “Ο δραπετης και χρυσος 59. Τον μελανοχρωτα βοτρυν 60. Aνα βαρβιτον δονησω
43. 40. 28.
8. 41. 47. 24. 66. 42.
6. 5. 25. 37. 38. 26. 27. 39.
61. Πολιοι μεν ημιν ηδη
For the order of the rest, see the Notes.
1. πορφυρέοις νοκ trisyllabica. Anacr. Fragm. Xxix. 3. | Αλιπορφύροις τάπησι dixit Pseud-Anacreon, ο ed. Fischer. πορφυρέη τ' Αφροδίτη. Anacr. Fragm. XXXvi. Theocr. Ιd. V. 125. πορφύρεοι δε τάπητες άνω, μα 1. σφαίρη δεύτί με πορφυρέ η, at legendum plane ex Athen@ο. υπνω,
τερί δ' αυτόν αμφ' 'Έρωτες Αμφι αυτον οι δ' Ερωτες τρομεροίς ποσίν χόρευον.
“Απαλοι συνέχoρευσαν τα βέλεμν' ο μεν Κυθήρης έπoίει καλής, δίστους
Εποιει, χης οιστους πρόεντας, εκ κεραυνού 9 και δε λευκά καλλιφύλλοις κρίνα συν ρόδoισι πλέξας, εφίλει στέφων γέροντα. κατα δ' ευθύς εξ 'Ολύμπου
"Η δε θεαων ανασσα Σοφίη θέαινα βάσα, έσορώσ’ 'Ανακρέοντα, 15 έσορώσα τους 'Ερωτας, υπομειδιώσά φησιν
Υπομειδιασσας ειπε Σόφ',-ίπει βροτών σε τούτο Τύν σοφωτατόν άπαντων καλίoυσι φύλα πάντα, 19 καλέoυσιν οι σοφισται,τί, γέρων, μάτην οδεύεις βιότου τρίβον τεού μεν μετά των καλών 'Ερώτων, μετά του καλού Λυαίου Τοίς Ερωσι, το Λυαιη έμε ε' δε λέξ ατίζεις; 25 Κ' ουκ εμοι κρατειν εδωκας τη φίλημα της Κυθήρης, τί κτελλα του Λυαίου, isadi spesūv deldus, Αιεί γ' ετρυφησας αδων έμα θέσμι' ου διδάσκων, Ούκ εμους νομους
διδασκων εμόν ου λαχών άωτον ; 30 Ούκ εμον λαχων αυτον ο α Τήλος μελωδός, Σε ταρές νόον γε μη μου
Μήτε δυσχεραίνε, φησι χαλίταινε, φήσ', άνευθε ότι σε σοφός καλούμαι
“Οτι, θέα, σου γ' ανευ μεν ταρα των σοφών απάντων. “Ο σοφωτατος απαντων φιλίω, τίω, λερίζω,
36 μετά των καλών γυναικών, αφελώς & τερπνα παίζω κιθάρη γαρ, ώς κέαρ με,
Ως λυρη γαρ, εμον ητορ αναπεί μόνους 'Ερωτας. βιότου δε την γαλήνην 41 Ωδε βίοτου γαληνην φιλίων μάλιστα πάντων, σοφός σε μελωδός είμι ; Ου σοφος μελωδος ειμι
THERE is but little known with certainty of the life of Anacreon. Chamæleon Heracleotes,' who wroto upon the subject, has been lost in the general wreck of ancient literature. The editors of the poet have collected the few trifling anecdotes which are scattered through the extant authors of antiquity, and, supplying the deficiency of materials by fictions of their own imagination, have arranged, what they call, a life of Anacreon. These specious fabrications are intended to indulge that interest which we naturally feel in the biography of illustrious men ; but it is rather a dangerous kind of illusion, as it confounds the limits of history and romance, and is too often supported by unfaithful citation."
Our poet was born in the city of Téos," in the delicious region of Ionia, and the time of his birth appears to have been in the sixth century before Christ. He flourished at that remarkable period, when, under the polished tyrants Hipparchus and Polycrates, Athens and Samos were become the rival asylums of genius. There is nothing certain known about his family, and those who pretend to discover in Plato that he was a descendant of the monarch Codrus, show much more of zeal than of either accuracy or judgment.
5 Thesis pro αμφεχόρευαν. Τheocr. Ιd. τι. 142. πωτών Mademoiselle Scuderi, from whom he borrowed the idea, το ξουθεί περί πίδακας αμφί μέλισσαι, h. e. αμφεπωτώντο. pretend to historical veracity in her account of Anacreon
6 Psend-Anacr. Οd. L. 12. τρομερούς ποσίν χορεύει. and Sappho. These, then, are allowable. But how can 7, 10. á pir, kie-o ól, ille. Bion. Id. 1. 82. xú per oïorus, Barnes be forgiven, who, with all the confidence of a bio18, ο επί τόξον έβαιν', κ. τ. λ. itidem de Armoribus. grapher, traces every wandering of the poet, and settles him
89. ετοίει-έκ κεραυνού. Pseud-Anacr. Οd. ΧΧνιι. 18. το at last, in his old age, at a country villa near Téos ? δε βλέμμα νύν αληθώς | από του πυρός ποίησον.
3 The learned Bayle has detected some infidelities of quo 10. 11. καλλιφύλλοις-ρόδοισι. Pseud-Anacr. Οd. ν. 3. το tation in Le Fevre. (Dictionnaire Historique, &c.) Madame μόαν το καλλίφυλλον.
Dacier is not more accurate than her father: they have 13. Tmesis pro karaßãoa. Pseud-Anacr. Od. 111. 15. dvà almost made Anacreon prime minister to the monarch of δεύθυ λύχνον άψας, h. e. ανάψας.
Samos. 18. Supple drops, quo rojro referatur. Eurip. Phæn. 12. * The Asiatics were as remarkable for genius as for luxury. τούτο γάρ πατήρ | έθετο. h. e. τούτο όνομα. βροτών φύλα | “Ingenia Asiatica Inclyta per gentes fecere Poete, Anacreon, sárra adumbratum ex Pseud-Anacr. Od. 11. 4. Mepów dz inde Mimnermus et Antimachus," &c.-Sulinus. φίλα πάντα. .
6 I have not attempted to define the particular Olympiad, 21. Pseud-Anacr. Οd. ΧΧΙν. 2. βιότου τρίβoν οδεύειν. but have adopted the idea of Bayle, who says, “ Je n'ai
25. Esch. Euinen. 58. μηδέ νιν, | κέρδος ιδών, αθέω ποδι | point marque d'Olympiade; car pour un homme qui a veca λεξ ατί- σης.
85 ans, il me semble que l'on ne doit point s'enfermer dans 2 ταρία νόον γε μη μοι χαλέπαινε, ne prater rationem in des bornes si étroites." ιιετι. 11. 1. 133. “Ήρη, μη χαλέπαινε παρέκ νέον. Similem & This mistake is founded on a false interpretation of a prestionem particidaram jań por exhibet Pseud-Anacr. Od. very obvious passage in Plato's Dialogue on Temperance ; it ΣυντΙΙ. 13.
originated with Madame Dacier, and has been received im1 He is quotedly Atheneas εν τω περι του Ανακρέοντος. plicitly by many. Gail, a late editor of Anacreon, seems to
* The History of Anacreon, by Gaçon (le Poète sans fard, claim to himself the merit of detecting this error; but Baylo u be styles himself,) is professedly a romance ; nor does had observed it before him.
The disposition and talents of Anacreon recom- We are told that in the eighty-fifth year of his ago mended him to the monarch of Samos, and he was he was choked by a grape-stone;" and, however formed to be the friend of such a prince as Poly- we may smile at their enthusiastic partiality, who crates. Susceptible only to the pleasures, he felt see in this easy and characteristic death a peculiar not the corruptions of the court ; and, while Pythag- indulgence of Heaven, we cannot help admiring oras fled from the tyrant, Anacreon was celebrating that his fate should have been so emblematic of his praises on the lyre. We are told too by Maxi- his disposition. Cælius Calcagninus alludes to this mus Tyrius, that, by the influence of his amatory catastrophe in the following epitaph on our poet: – songs, he softened the mind of Polycrates into a spirit of benevolence towards his subjects.'
Those lips, then, hallow'd sage, which pour'd along
A music sweet as any uygnet's song, The amours of the poet, and the rivalship of The grape hath closed forever! the tyrant," I shall pass over in silence; and there Here let the ivy kiss the poet's tomb, are few, I presume, who will regret the omission Here let the rose he loved with laurels t.com,
In bands that ne'er shall sever of most of those anecdotes, which the industry of
But far be thon, oh! far, unholy vine, some editors has not only promulged, but dis
By whom the favorite minstrel of the Nine cussed. Whatever is repugnant to modesty and Lost his sweet vital breath; virtue is considered in ethical science, by a suppo- Thy God himself now blushes to confess, sition very favorable to humanity, as impossible ;
Once hallow'd vine! he feels he loves thee less
Since poor Anacreon's death. and this amiable persuasion should be much more strongly entertained, where the transgression wars It has been supposed by some writers that A mac with nature as well as virtue. But why are we reon and Sappho were contemporaries; and the not allowed to indulge in the presumption? Why very thought of an intercourse between persons so aro we officiously reminded that there have been congenial, both in warmth of passion and delicacy rually such instances of depravity?
of genius, gives such play to the imagination, that Hipparchus, who now maintained at Athens the the mind loves to indulge in it.
But the vision power which his father Pisistratus had usurped, dissolves before historical truth; and Chamæleon was one of those princes who may be said to have and Hermesianax, who are the source of the suppolished the fetters of their subjects. He was the position, are considered as having merely indulged first, according to Plato, who edited the poems of in a poetical anachronism. Homer, and commanded them to be sung by the To infer the moral dispositions of a poet from rhapsodists at the celebration of the Panathenæa. the tone of sentiment which pervades his works, From his court, which was a sort of galaxy of is sometimes a very fallacious analogy; but the genius, Anacreon could not long be absent. Hip- soul of Anacreon speaks so unequivocally through parchus sent a barge for him ; the poet readily his odes, that we may safely consult them as the embraced the invitation, and the Muses and the faithful mirrors of his heart.? We find him there Loves were wasted with him to Athens.
the elegant voluptuary, diffusing the seductive The manner of Anacreon's death was singular. charm of sentiment over passions and propensities
1 Ανακρεων Σαμιοις Πολυκρατην ημερωσε. Maxim. Tyr. $ 21. 3 At te, sancte senex, acinus sub Tartara misit; Maximus Tyrius mentions this among other instances of the
Cygneæ clausit qui tibi vocis iter. influence of poetry. If Gail had read Maximus 7'yrius, how Vos, hederæ, tumulum, tumulum vos cingite, lauri, could he ridicule this idea în Moutonnet, as unauthenticated ?
Hoc rosa perpetuo vernet odora loco; 2 In the romance of Clelia, the anecdote to which I allude
At vitis procul hinc, procul hinc odiosa facessat, is told of a young girl, with whom Anacreon fell in love while
Quæ causam diræ protulit, uva, necis, she personated the god Apollo in a mask. But here Made
Credbir ipse minus vitem jam Bacchus amare, moiselle Scuderi consulted nature more than truth.
In valem tantum quæ fuit ansa nefas. 3 There is a very interesting French poem founded upon this arecdote, imputed to Desyvetaux, and called “ Anacreon translated or imitated the epigrams eis tnv Mupwvos Bove,
The author of this epitaph, Cælius Calcagninus, has Citoyen."
which are given under the name of Anacreon. A Fabricius appears ot to trust very implicitly in this
• Barnes is convinced (but very gratuitously) of the syne sinry. "Uvæ passæ acino tandem suffocatus, si credimus
chronism of Anacreon and Sappho. In citing his authorities, Suidæ in OIVOTOTIS ; alii enim huc mortis genere periise tra
he has strangely neglected the line quoted by Fulvius Ursidunt Sophoclem."- Fabricii Bibliothec. Grec. lib. fi. cap. 15.
nus, as from Anacreon, among the testimonies to Sappho:It must be confessed that Lucian, who tells us that Sophocles was choked by a grape-stone, in the very same treatise men- Ειμι λαβων εισαρας Σαπφω παρθενον αδυφωνον. . tions the longevity of Anacreon, and yet is silent on the Fabricius thinks that they might have been contemporary, manner of his death. Could he have been ignorant of such but considers their amour as a tale of imagination. Vossius a remarkable coincidence, or, knowing, could he have neg- rejects the idea entirely; as do also Olaus Borrichius and lected to remark it? See Regnier's introduction to his others. Anacreon.
? An Italian poet, in some verses on Belleau's translation
nga Pafter the very enthusiastic eulogiums bestowed
at which rigid morality must frown. His heart, to themselves the form of the animated old bard, devoted to indolence, seems to have thought that crowned with roses, and singing cheerfully to his there is wealth enough in happiness, but seldom lyre. But the head of Anacreon, prefixed to this happiness in mere wealth. The cheerfulness, in- work,” has been considered so authentic, that we deed, with which he brightens his old age is inter scarcely could be justified in the omission of it; and esting and endearing: like his own rose, he is fra- some have even thought that it is by no means grant even in decay. But the most peculiar feature deficient in that benevolent suavity of expression of his mind is that love of simplicity which he which should characterize the countenance of such attributes to himself so feelingly, and which breathes a poet. characteristically throughout all that he has sung. in truth, if we omit those few vices in our estimate both by ancients and moderns upon the poems of which religion, at that time, not only connived at, Anacreon,' we need not be difficient in expressing but consecrated, we shall be inclined to say that the our raptures at their beauty, nor hesitate to prodisposition of our pott was amiablo ; that his morality nounce them the most polished remains of antiwas relaxed, but not abandoned ; and that Virtue, quity. They are, indeed, all beauty, all enchantwith her zone loosened, may be an apt emblem of ment. He steals us so insensibly Evong with him, the character of Anacreon.'
that we sympathize even in his excesses In his Of his person and physiognomy time has pro amatory odes there is a delicacy of compliment ilot served such uncertain memorials, that it wore 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 tho sexes was animated more by of Anacreon, pretends to imagine that our bard did not feel right hand, and a dolphin, with the word TIANIN inscribed, as he wrote :
in the left; "volendoci denotare (says Canini) che quelle
cittadini la coniassero in honore del suo compatriota poeta." Lyæum, Venerem, Cupidinemque
There is also among the coins of De Wilde one, which Senex lusit Anacreon poeta.
though it bears no effigy, was probably struck to the memory Sed quo tempore nec capaciores
of Anacreon. It has the word THISZN, encircled with an ivy Rogabat cyathos, nec inquietis
" At quidni respicit hæc corona Anacreontem, nobiL'rebatur 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 He 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 Those flowery days had faded long,
Anacreon, and attributes to him likewise a medicinal treaWhen youth could act the lover's part;
tise. Fulgentius mentions a work of his upon the war beAnd passion trembled in his song,
tween Jupiter and the Titans, and the origin of the conseBut never, never, reach'd his heart.
cration of the engle.
4 See Horace, Maximus Tyrius, &c. " His style (says 1 Anacreon's character has been variously colored. Barnes Scaliger) is sweeter than the juice of the Indian reed."| liagers on it with enthusiasti: admiration; but he is always Püet. lib. I. cap. 44. “From the softness of his verses (says
estra Fagant, if not sometimes also a little profane. Baillet Olaus Borrichius) the ancients bestowed on him the epithets ruas too much 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; i surely agree with him when he cites such a compiler as speaking of the pedos, or ode, “ Anacreon autem non solum Athenaus, 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 our the Commentary prefixed to the Parma edition : "O vos pet's character in a note on Longinus; the note in question sublimes animæ, vos Apollinis alumni, qui post unum Alcbeing manisest irony, in allusion to some censure passed manem in totâ Hellade lyricam poesim exsuscitastis, coluisupoa Le Feste for his Anacreon. It is clear, indeed, that tis, amplificastis, quæso vos an ullus unquam fuerit vates 2.se rather than censure is intimated. See Johannes Vul- qui Teio cantori vel naturæ candore vel metri suavitate pos, de Ctilitate 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.
I'aber, in his description of the coin of Ursinus, mentions 6 “We may perceive,” says Vossius, “ that the iteration of i beber head on a very beautiful cornelian, which he sup his words conduces very much to the sweetness of his style."
pazzes was worn in a ring by some admirer of the poet. In Henry Stephen remarks the same beauty in a note on the the loopographia of Canini there is a youthful head of Anac- forty-fourth ode. This figure of iteration is his most approteon from a Grecian medal, with the letters TEIOE around priate grace:--but the modern writers of Juvenilia and Basia #; ca 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 the pages and, under a semblance of moral zeal, deprived the of all the other poets. His descriptions are warm; world of some of the most exquisite treasures of but the warnith 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 ade 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, wo 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,
Delevit ætas. 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, tracted, as I have already remarkad, 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 bymn of set to niusic, 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 chantions des odes Grecques ?" The chromatic learning of
Αγε μοι, λιγεια φορμιγξ,
Μετα Τηϊαν αοιδαν, these composers is very unlike what we are told of the
Μετα Λεσβιαν τε μολπαν. simple melody of the ancients; and they have all, as it ap
. pears to me, mistaken the accentuation of the words. Margunius and Damascenus were likewise authors of pious
2 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 Græculos" alwas not sung by the rhetorician Julianus, as he says, but by luded to by Barnes, who has himself composed an Avakpewn the minstrels of both sexes, who were introduced at the Xprotiavas, as absurd as the rest, but somewhat more skilentertainment.
fully executed. s See what Colomeslus, in his “Literary Treasures," has • 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 more Anacreontics of his than I believe have ever been contra cara non potui non apponere."