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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. There's naught in nature bright or gay, Where roses do not shed their ray. When morning paints the orient skies, Her fingers burn with roseate dyes ;' Young nymphs betray the rose's huo, O'er whitest arms it kindles through. In Cytherea's form it glows, And mingles with the living snows.

When, humid, from the silvery stream,
Effusing beauty's warmest beam,
Vonus appeard, 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, in blushing glories 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 divisie
Of him who gave the glorious vine ;
And bade them on the spangled thorn
Expand their bosoms to the morn.

The rose distils a healing balm, The beating pulse of pain to calm; Preserves the cold inurned clay," And mocks the vestige of decay:' An when, at length, in pale decline, Its florid beauties fade and pine, Sweet as in youth, its balmy breath Diffuses odor even in death !* Oh! whence could such a plant havo sprung? Listen,- for thus the tale is sung.


He, who instructs the youthful crew To bathe them in the brimmer's dew,

* Wher morning paints the orient skies,

Her fingers burn with roseate dyes ; &c.] In the original here, he enumerates the many epithets of beauty, borrowed from roses, which were used by the poets, mapa twv dobuv. We see that poets were dignified in Greece with the title of sages: even the careless Anacreon, who lived but for love and volaptuousness, was called by Plato the wise Anacreon

fait bæc sapientia quondam.". * Preserves the cold inurned clay, &c.] 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 y. It may likewise regard the ancient practice of putting garlands of roses on the dead, as in Statins, Theb. lib. x. 762.

-hi sertis, a veris honore soluto Accumulant artus, patriâque in sede reponunt

Corpus odoratam. Where * veris honor," though it mean every kind of fiowers, may seem more particularly to refer to the rose, which our poet in another ode calls éapos usinua. 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 Pierius has adduced some seprehral inscriptions to this purpose.

• And mocks the restige of decay :) When he says that this flower prevails over time itself, he still alludes to its efficacy in embalmment, (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 daration the "nimium breves flores" of the rose. Philostratus compares this flower with love, and says, that they both defy the influence of time ; xpovov će ovre Epws, 2011 laća créer. Unfortunately the similitude lies not in their duration, but their transience. * Sweet es in youth, its balmy breath

Difuses odor even in death!) Thus Casper Barlæus, in is Eiras Naptiarum :

Ambrosium late rosa tunc quoque spargit odorem,
Cum fluit, aut multo languida sole jacet.
Nor then the rose its odor loses,

When all its flushing beauties die;
Nor less ambrosial balm diffuses,

When wither'd by the solar eye. 6 With nectar drops, a ruby tide,

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


Fusæ aprino de cruoreaccording 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 cæca rosetis,

Albaque divino picta cruore rosa est.
While the enamor'd queen of joy
Flies to protect her lovely boy,

On whom the jealous war-god rashes;
She treads upon a thorned rose,
And while the wound with crimson flows,

The snowy flow'ret feels her blood, and blushes: o "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 rinviot óvor, as our poet himself terms them in the fifty-ninth ode. We cannot help feeling a sort of reverence for these classic relics of the religion of antiquity. Horace may be supposed to have written the nineteenth ode of his second book, and the twenty-firth 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 bound
Elastic through the dance's round,-
Bacchus, tho god again is here,
And leads along the blushing year;
The blushing year with vintage teems,
Ready to shed those cordial streams,
Which, sparkling in the cup of mirth,
Illuminate the sons of earth !!

As aught on earthly wing can fly,
Depicted thus, in semblance warm,
The Queen of Love's volt

nous form
Floating along the silv'ry sea
In beauty's naked majesty!
Oh! he hath given th' enamor'd sight
A witching banquet of delight,
Where, gleaming through the waters clear
Glimpses of undream'd charms appear,
And all that mystery loves to screen,
Fancy, like Faith, adores unseen.

Then, when the ripe and vermil wine,
Blest infant of the pregnant vino,
Which now in mellow clusters swells,
Oh! when it bursts its roseate cells,
Brightly the joyous stream shall flow,
To balsam every mortal wo!
None shall be then cast down or weak,
For health and joy shall light each cheek ;
No heart will then desponding sigh,
For wine shall bid despondence fly.
Thus-till another autumn’s glow
Shall bid another vintage flow.

Light as the leaf, that on the breeze
Of summer skims the glassy seas,
She floats along the ocean's breast,
Which undulates in sleepy rest ;
While stealing on, she gently pillows
Her bosom on the heaving billows.
Her bosom, like the dew-wash'd rose,
Her neck, like April's sparkling snows,
Illume the liquid path she traces,
And burn within the stream's embraces.
Thus on she moves, in languid pride,
Encircled by the azuro tide,
As some fair lily o'er a bed
Of violets bends its graceful head.


Whose was the artist hand that spread
Upon this disk the ocean's bed ?:
And, in a flight of fancy, high

Beneath their queen's inspiring glance,
The dolphins o'er the green sea dance,
Bearing in triumph young Desire,
And infant Love with smiles of fire !

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i Which, sparkling in the cup of mirth,

And all that mystery loves to screen, Illuminate the sons of earth!] In the original torov Fancy, like Faith, adores unseen, &c.] The pict αστoνoν κυμιζων. Μadaine Dacier thinks that the poet here has all the delicate character of the semi-reduct: had the nepenthé of Homer in his mind. Odyssey, lib. iv. and affords a happy specimen of what the poetry of Th's nepenthe was a something of exquisite charm, infused ought to be-glowing but through a veil, and steali by Helen into the wine of her guests, which had the power the heart from concealment. Few of the ancier of dispelling every anxiety. A French writer, De Mere, attained this modesty of description, which, like th conjectures that this spell, which made the bowl so be cloud that hung over Jupiter and Juno, is imper guiling, was the charm of Helen's conversation. See Bayle, every beam but that of fancy. art. Heléne.

6 Her bosom, like the dew-wash'd rose, &c.] ? This ode is a very animated description of a picture of (says an anonymous annotator) is a whimsical ep Venus on a discus, which represented the goddess in her the bosom." Neither Catullus nor Gray have bee first emergence from the waves. About two centuries after opinion. The former has the expression, our poet wrote, the pencil of the artist Apelles embellished

En hic in roseis latet pa pillis ; this subject, in his famous painting of the Venus Anadyo

And the latter, mené, the model of which, as Pliny informs us, was the beautiful Campaspe, given to him by Alexander; though,

Lo! where the rosy-bosom u pours, &c. according to Natalis Comes, lib. vii. cap. 16, it was Phryne Crottus, a modern Lativist, might indeed be cens who sat to Apelles for the face and breast of this Venus. too vague a use of the epithet “rosy," when he a

There are a few blemishes in the reading of the ode be to the eyes :-"e roseis oculis." fore us, which have influenced Faber, Heyne, Brunck, &c.

-young Desire, &c.] In the original to denounce the whole poem as spurious. But, “non ego who was the same deity with Jocus among the paucis offendar maculis." I think it is quite beautiful Aurelius Augurellus has a poem beginningenough to be authentic.

Invitat olim Bacchus ad cænam suos 3 Whose was the artist hand that spread

Comon, Jocuim, Cupidinem. Upon this disk the ocean's bed?) The abruptness of apa Which Parnell has closely imitated :TIS TOPEVOs hovTUV is finely expressive of sudden admiration,

Gay Bacchus, liking Estcourt's wine, and is one of those beauties which we cannot but admire in

A noble meal bespoke us; their source, though, by frequent imitation, they are now

And for the guests that were to dine, become familiar and unimpressive.

Brought Comus, Love, and Jocus, &c.


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of the infidelity of his mistress, Lesbia:

While, glittering through the silver waves,

Away, deceiver! why pursuing
The tenants of the briny caves

Ceaseless thus my heart's undoing ?
Around the pomp their gambols play,

Sweet is the song of amorous fire,
And gleam along the watery way.

Sweet the sighs that thrill the lyre ;
Oh! sweeter far than all the gold
Thy wings can waft, thy mines can hold.
Well do I know ily arts, thy wiles-

They wither'd Love's young wreathed smiles ;

And o'er his lyre such darkness shed,
When Gold, as fleet as zephyr's pinion,

I thought its soul of song was fled !
Escapes like any faithless minion,

They dash'd the wine-cup, that, by him,
And flies me, (as he flies me every)

Was fill'd with kisses to the brim."
Do I pursue him? never, never!

Go-fly to haunts of sordid men,
No, let the falso deserter go,

But come not near the bard again.
For who could court his direst foe?

Thy glitter in the Muse's shade,
But, when I feel my lighten'd mind

Scares from her bower the tuneful maia;
No more by grovelling gold confined,

And not for worlds would I forego
Then loose I all such clinging cares,

That moment of poetic glow,
And cast them to the vagrant airs.

When my full soul, in Fancy's stream,
Then feel I, too, the Muse's spell,

Pours o'er the lyre its swelling theme.
And wake to life the duicet shell,

Away, away! to worldlings henco,
Which, roused once more, to beauty sings,

Who feel not this disiner sense ;
While love dissolves along the strings !

Give gold to those who love that pest,-

But leave the poet poor and blest.
But scarcely has my heart been taught
How little Gold deserves a thought,
When, lo! the slave returns once more,
And with him wafts delicious store
Oi racy wine, whose genial art

RIPEN'd by the solar beam,
In slumber seals the anxious heart.

Now the ruddy clusters teem,
Again he tries my soul to sever

In osier baskets borne along
From love and song, perhaps forever!

By all the festal vintage throng I have followed Barnes's arrangement of this ode, which, Si sic omnia dixisset!--but the rest does not bear citathough deviating somewhat from the Vatican MS., appears tion. to me the more natural order.

They dash'd the wine-cup, that, by him,
* Men Gold, as fleet as zephyr's pinion,

Was fill'd with kisses to the brim.) Original:-
Escapes like any faithless minion, &c.] In the original
Odpareans o xauces. There is a kind of pun in these words,

Φιληματων δε κεόνων, * Madame Dacier has already remarned; for Chrysos, which

Πυθων κυπελλα κιρνης. . Bonifies gold, was also a frequent name for a slave. In one Horace has “Desiderique temperare poculum," not figuof Lacian's dialogues, there is, I think, a similar play upon ratively, however, like Anacreon, but importing the lovethe word, where the followers of Chrysippus are called philtres of the witches. By“ cups of kisses” our poet may Båden fishes. The puns of the ancients are, in general

, allude to a favorite gallantry among the ancients, of drinkeven more vapid than our own; some of the best are those ing when the lips of their mistresses had touched the brim :

" Or leave a kiss within the cup, And fies mae, (as he flies me ever,) &c.] Acc d', acı ve pev

And I'll not ask for wine." yet

. This grace of iteration has already been taken notice of Though sometimes merely a playful beauty, it is pecu As in Ben Jonson's translation from Philostratus; and Lularly expressive of impassioned sentiment, and we may

cian has a conceit upon the same idea, «Ινα και πινης άμα easily believe that it was one of the many sources of that

kat didns," " that you may at once both drink and kiss." energetie sensibility which breathed through the style of Sappho. See Gyrald. Vet. Poet. Dial. 9. It will not be

6 The title Envios úuvos, which Barnes has given to this eeld that this is a mechanical ornament by any one who can

ode, is by no means appropriate. We have already had one els charm in those lines of Catullus

, where he complains cage ; and the title eis oivov, which it bears in the Vatican

of those hymns, (ode 56,) but this is a description of the vin

MS., is more correct than any that have been suggested. Cæli, Lesbia nostra, Lesbia illa,

Degen, in the true spirit of literary skepticism, doubts that Ilta Lesbia, quam Catullus unam,

this ode is genuine, without assigning any reason for such a Plus quam se atque suos amavit omnes, suspicion ;-"non amo te, Sabidi, nec possum dicere quare."

But this is far from being satisfactory criticism.


recorded of Diogenes.

Nunc, &c.

Which, tremblingly, my lips repeat, Send echoes from thy chord as sweet. 'Tis thus the swan, with fading notes, Down the Cayster's current floats, While amorous breezes linger round, And sigh responsive sound for sound.

Muse of the Lyre ! illume my dream, Thy Phæbus is my fancy's theme; And hallow'd is the harp I bear, And hallow'd is the wreath I wear, Hallow'd by him, the god of lays, Who modulates the choral maze. I sing the love which Daphne twined Around the godhead's yielding mind; I sing the blushing Daphne's flight From this ethereal son of Light; And how the tender, timid maid Flew trembling to the kindly shade," Resign'd a form, alas, too fair, And grew a verdant laurel there; Whose leaves, with sympathetic thrill, In terror seem'd to tremble still ! The god pursued, with wing'd desire; And when his hopes were all on firo, And when to clasp tre nymph he thought, A lifeless tree was all he caught; And, stead of sighs that pleasure heaves, Heard but the west-wind in the leaves !

But, pause, my soul, no more, no mora Enthusiast, whither do I soar? This sweetly-madd’ning dream of soul Hath hurried me beyond the goal. Why should I sing the mighty darts Which fly to wound celestial hearts, When ah, the song, with sweeter tone, Can tell the darts that wound my own? Still bo Anacreon, still inspire The descant of the Teian lyre :

Of rosy youths and virgins fair,
Ripe as the melting fruits they bear.
Now, now they press the pregnant grapes,
And now the captive stream escapes,
In fervid tide of nectar gushing,
And for its bondage proudly blushing !
While, round the vat's impurpled brim,
The choral song, the vintage hymn
Of rosy youths and virgins fair,
Steals on the charm'd and echoing air.
Mark, how they drink, with all their eyes,
The orient tide that sparkling flies,
The infant Bacchus, born in mirth,
While Love stands by, to hail the birth.

When he, whose verging years decline
As deep into the vale as mine,
When he inhales the vintage-cup,
His feet, new-wing'd, from earth spring up,
And as he dances, the fresh air
Plays whispering through his silvery hair.
Meanwhile young groups whom love invites,
To joys e'en rivalling wine's delights,
Seek, arm in arm, the shadowy grove,
And there, in words and looks of love,
Such as fond lovers look and say,
Pass the sweet moonlight hours away.'


Awake to life, my sleeping shell,
To Phæbus let thy numbers swell ;
And though no glorious prize be thine,
No Pythian wreath around theo twine,
Yet every hour is glory's hour
To him who gathers wisdom's flower.
Then wake thee from thy voiceless slumbers,
And to the soft and Phrygian numbers,

i Those well acquainted with the original nced hardly be reminded that, in these few concluding verses, I have thought right to give only the general meaning of my author, leaving the details untouched.

? This hynın to Apollo is supposed not to have been written by Anacreon; and it is undoubtedly rather a sublimer flight than the Teiap wing is accustomed to soar. But, in a poet of whose works so small a proportion has reached us. diversity of style is by no means a safe criterion. If we knew Horace but as a satirist, should we easily believe there could dwell such animation in his lyre? Suidas says that our poet wrote hymns, and this perhaps is one of them. We can perceive in what an altered and imperfect state his works are at present, when we find a scholiast upon Horace citing an ode from the third book of Anacreon. 3 And how the tender, timid maid

Flew trembling to the kindly shade, &c.] Original :

Το μεν εκπεφευγε κεντρον, ,

φυσεως δ' αμειψε μορφην. I find the word Kevt pov here has a double force, &: signifies that "omnium parentem, quam sanctus Nu &c." (See Martial.) In order to confirm this impor word here, those who are curious in new reading place the stop after ovocws, thus:

Το μεν εκπεφευγε κεντρον

Φυσεως, δ' αμειψε μορφην. 4 Still be Anacreon, still inspire

The descant of the Teian lyre :) The original is? ακρεοντα μιμου. I have translated it under the sup that the hymn is by Anacreon; though, I fear, în very line, that his claim to it can scarcely be support

Tov Avarpcovta muov," Imitate Anacreon." Suc lesson given us by the lyrist; and if, in poetry, a sim gance of sentiment, enriched by the most playful feii

Still let the nectar'd numbers float,
Distilling love in every note !
And when some youth, whose glowing soul
Has felt the Paphian star's control,
When he the liquid lays shall hear,
His heart will flutter to his ear,
And drinking there of song divins,
Banquet on intellectual wine!!

Time has shed its sweetest bloom,
All the future must be gloom.
This it is that sets me sighing;
Dreary is the thought of dying !
Lone and dismal is the road,
Down to Pluto's dark abode ;
And, when once the journey's o'er,
Ah! we can return no more !


Youtu's endearing charms are fled;
Hoary locks deform my head;
Bloomy graces, dalliance gay,
All the flowers of life decay.'
Withering age begins to trace
Sad memorials o'er my face ;

Fill mo, boy, as deep a draught,
As e'er was fill'd, as o'er was quaff’d;
But let the water amply flow,
To cool the grape's intemperate glow;'
Let not the fiery god be single,
But with the nymphs in union mingle.

fabey, be a charm which invites or deserves imitation, where Singula de nobis anni prædantur euntes ; shall we find such a guide as Anacreon? In morality, too, Eripuere jocos, venerem, convivia, ludum. with some little reserve, we need not blush, I think, to follow

The wing of every passing day in his footsteps. For, if his song be the language of his

Withers some blooming joy away; heart, though luxurious and relaxed, he was artless and be

And wafts from our enamor'd arms befolent; and who would not forgive a few irregularities,

The banquet's mirth, the virgin's charms. when atoned for by virtues so rare and so endearing ? When we think of the sentiment in those lines :

4 Dreary is the thought of dying, &c.] Regnier, a libertine

French poet, has written some sonnets on the approach of Away! I hate the sland'rous dart,

death, full of gloomy and trembling repentance. Chaulien, Which steals to wound th' unwary heart,

however, supports more consistently the spirit of the Epicuhow many are there in the world, to whom we would wish rean philosopher. See his poem, addressed to the Marquis to say, Τον Ανακρέοντα μιμου!

de Lafare2 Here ends the last of the odes in the Vatican MS., whose Plus j'approche du terme et moins je le redoute, &o. suthority helps to confirm the genuine antiquity of them all,

6 And, when once the journey's o'er, though a few have stolen among the number, which we may

Ah! we can return no more!) Scaliger, upon Catullus's besimte in attributing to Anacreon. In the little essay pre

well-known lines, “Qui nunc it per iter, &c." remarks that fied to this translation, I observed that Barnes has quoted Acheron, with the same idea, is called avețodos by Theocrithis manuseript incorrectly, relying upon an imperfect copy

tus, and dvoekopojos by Nicander. of it which Isaac Vossius had taken. I shall just mention

* This ode consists of two fragments, which are to be found two or three instances of this inaccuracy-the first which occur to me. In the ode of the Dove, on the words II Tepoiol

in Athenæus, book x., and which Barnes, from the similarity vyravo, he says, “ Vatican MS. ovokiagov, etiam Pris

of their tendency, has combined into one. I think this a very caso invito :* but the MS. reads ovvka vw, with ovokiaOW

justifiable liberty, and have adopted it in some other frag

ments of our poet. Interlined. Degen too, on the same line, is somewhat in error. In the twenty-second ode of this series, line thir

Degen refers us here to verses of Uz, lib. iv., “der Trinteenth, the Ms. has revin with an interlined, and Barnes imprebes to it the reading of revon. In the fifty-seventh, line 7 But let the water amply flow, twelfth, he professes to have preserved the reading of the To cool the grape's intemperate glow ; &c.] It was AmVS. Alalruern & Ex' avrn, while the latter has ada,nuevos phictyon who first taught the Greeks to mix water with their

Tatra. Almost all the other annotators have trans wine; in commemoration of which circumstance they erectplanted these errors from Barnes.

ed altars to Bacchus and the nymphs. On this mythological * The intrusion of this melancholy ode, among the careless allegory the following epigram is founded : levities of our poet, reminds us of the skeletons which the Ardentem ex utero Semeles lavêre Lyæum Egyptians used to hang up in their banquet-rooms, to incul

Naiades, extincto fulminis igne sacri; cate a thought of mortality even amidst the dissipations of Cum nymphis igitur tractabilis, at sine nymphis wurth. If it were not for the beauty of its numbers, the

Candenti rursus fulmine corripitur. Tean Muse should disown this ode. "Quid habet illius,

PIERIUS VALERIANUI. las que spirabat amores ?”

Which is, non verbum verbo, To Stobens we are indebted for it.

While heavenly fire consumed his 'Theban dame, * Bloomy graces, dalliance gay,

A Naiad caught young Bacchus from the flame, 4Xl the flowers of life decay.) Horace often, with feeling And dipp'd him burning in her purest lymph; und elegance, deplores the fugacity of human enjoyments. Hence, still he loves the Naiad's crystal urn, See book il. ode 11; and thus in the second epistle, book And when his native fires too fiercely burn,

Seeks the cool waters of the fountain-nymph.


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