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And fresh inhale the spicy sighs
When revel reigns, when mirth is high,
The rose distils a healing balm,
When, humid, from the silvery stream,
1 When morning paints the orient skies,
Ambrosium late rosa tunc quoque spargit odorem, Her fingers burn with roseate dyes ; &c.] In the original
Cum fluit, aut multo languida sole jacet. here, he enumerates the many epithets of beauty, borrowed
Nor then the rose its odour loses, from roses, which were used by the poets, tugu To rapa.
When all its flushing beauties die; We see that poets were dignified in Greece with the title of
Nor less ambrosial balm diffuses, sages : even the careless Anacreon, who lived but for love and
When wither'd by the solar eye. roluptuousness, was called by Plato the wise Anacreon "fuit hæc sapientia quondam.”
5 With nectar drops, a ruby tide, Preserves the cold inurned clay, fc.] He here alludes to
The sweetly orient buds they dyed, &c.] The author of the use of the rose in embalming; and, perhaps (as Barnes
the “ Pervigilium Veneris” (a poem attributed to Catullus, thinks), to the rosy unguent with which Venus anointed the
the style of which appears to me to have all the laboured corpse of Hector. – Homer's Iliad of. It may likewise regard luxuriance of a much later period) ascribes the tincture of the ancient practice of putting garlands of roses on the dead, the rose to the blood from the wound of Adonis – as in Statius, Theb. lib. x. 782. hi sertis, hi veris honore soluto
Fusæ aprino de cruore -
according to the emendation of Lipsius. In the following Corpus odoratum.
epigram this hue is differently accounted for:Where "veris honor," though it mean every kind of flowers, Illa quidem studiosa suum defendere Adonim, may seem more particularly to refer to the rose, which our
Gradivus stricto quem petit ense ferox, pret in another ode calls icegos de auth. We read, in the Affixit duris vestigia cæca rosetis, Hieroglyphics of Pierius, lib. Iv. that some of the ancients Albaque divino picta cruore rosa est. used to order in their wills, that roses should be annually While the enamour'd queen of joy scattered on their tombs, and Pierius has adduced some se
Flies to protect her lovely boy, pulchral inscriptions to this purpose.
On whom the jealous war-god rushes ; ? And mocks the restige of decay :) When he says that this She treads upon a thorned rose, lower prevails over time itself, he still alludes to its efficacy And while the wound with crimson flows, in embalment (tenerá poneret ossa rosa. Propert. lib. i. The snowy Bow'ret feels her blood, and blushes ! eleg. 17.), or perhaps to the subsequent idea of its fragrance 6 " Compare with this elegant ode the verses of Uz, lib. i. surviving its beauty; for he can scarcely mean to praise for • die Weinlese."" - Degen. duration the * nimium breves flores” of the rose. Philo
This appears to be one of the hymns which were sung at stratus compares this flower with love, and says, that they both the anniversary festival of the vintage; one of the stiamies defy the influence of time ; xgovor de eri Egus, ourt podce aider. buros, as our poet himself terms them in the fifty-ninth ode. Unfortunately the similitude lies not in their duration, but We cannot help feeling a sort of reverence for these classic their transience.
relics of the religion of antiquity. Horace may be supposed * Sweet as in youth, its balmy breath
to have written the nineteenth ode of his second book, and Difuses odour even in death?! Thus Casper Barlæus, in the twenty-fifth of the third, for some bacchanalian celehis Ritus Nuptiarum:
bration of this kind.
And taste, uncloy'd by rich excesses,
And, in a flight of fancy, high
Light as the leaf, that on the breeze,
Beneath their queen's inspiring glance,
Then, when the ripe and vermil wine, -
Whose was the artist hand that spread
i Which, sparkling in the cup of mirth,
4 And all that mystery loves to screen, Illuminate the sons of earth!) In the original TOTOY ATTO Fancy, like Faith, adores unseen, &c.) The picture here Yov xosa. Madame Dacier thinks that the poet here had has all the delicate character of the semi-reducta Venus, and the nepenthé of Homer in his mind. Odyssey, lib. iv. This affords a happy specimen of what the poetry of passion ought nepenthé was a something of exquisite charm, infused by to be – glowing but through a veil, and stealing upon the Helen into the wine of her guests, which had the power of heart from concealment. Few of the ancients have attained dispelling every anxiety. A French writer, De Meré, con this modesty of description, which, like the golden cloud that jectures that this spell, which made the bowl so beguiling, hung over Jupiter and Juno, is impervious to every beam was the charm of Helen's conversation. See Bayle, art.
but that of fancy. Helène.
• Her bosom, like the dew-wash'd rose, &c.) "'Podien (says ? This ode is a very animated description of a picture of an anonymous annotator) is a whimsical epithet for the Venus on a discus, which represented the goddess in her first bosom." Neither Catullus nor Gray have been of his opinion. emergence from the waves. About two centuries after our
The former has the expression, poet wrote, the pencil of the artist Apelles embellished this
En hic in roseis latet papillis subject, in his famous painting of the Venus Anadyomené, And the latter, the model of which, as Pliny informs us, was the beautiful Campaspe, given to him by Alexander ; though, according to
Lol where the rosy-bosom'd hours, &c. Natalis Comes, lib. vii. cap. 16., it was Phryne who sat to
Crottus, a modern Latinist, might indeed be censured for Apelles for the face and breast of this Venus.
too vague a use of the epithet “rosy," when he applies it to There are a few blemishes in the reading of the ode before
the eyes :-"e roseis oculis." us, which have indluenced Faber, Heyne, Brunck, &c. to
young Desire, &c.] In the original 'lusza, denounce the whole poem as spurious. But, "non ego pau
who was the same deity with Jocus among the Romans. cis offendar maculis." I think it is quite beautiful enough to
Aurelius Augurellus has a poem beginning be authentic.
Invitat olim Bacchus ad cænam suos 3 Whose was the artist hand that spread
Comon, Jocum, Cupidinem. l'pon this disk the ocean's bed ?] The abruptness of uza Which Parnell has closely imitated :TK sopivat tortor 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.
WHEN Gold, as fleet as zephyr's pinion,
Away, deceiver! why pursuing
But scarcely has my heart been taught
RIPEN'd by the solar beam,
"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.
4 They dash'd the wine-cup, that, by him, : When 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
Φιληματων δε κιδνων, , O iztira é zgrees. There is a kind of pun in these words,
Ποθων κνπελλα κιρνης. as Madame Dacier has already remarked; for Chrysos, which
. signifies gold, was also a frequent name for a slave. In one Horace has “Desiderique temperare poculum," not figuof Lucian'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 golden fishes. The puns of the ancients are, in general, even allude to a favourite gallantry among the ancients, of more vapid than our own; some of the best are those re- drinking when the lips of their mistresses had touched the corded of Diogenes.
« Or leave a kiss within the cup, 3 And flies me (as he flies me ever,) &c.] Au d', as he peu
And I'll not ask for wine.” 9. 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 Lu. fiarly expressive of impassioned sentiment, and we may
cian has a conceit upon the same idea, "'Ive nos suyos é us easily believe that it was one of the many sources of that nos cans," " that you may at once both drink and kiss.” energetic sensibility which breathed through the style of
5 The title Examples úrves, which Barnes has given to this Sappho. See Gyrald. Vet. Poet. Dial. 9. It will not be
ode, is by no means appropriate. We have already had one said that this is a mechanical ornament by any one who can
of those hymns (ode 56.), but this is a description of the vinfeel its charm in those lines of Catullus, where he complains tage ; and the title as ouer, which it bears in the Vatican of the infidelity of his mistress, Lesbia :
MS., is more correct than any that have been suggested. Cali, Lesbia nostra, Lesbia illa,
Degen, in the true spirit of literary scepticism, doubts that Illa 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." Nunc, &c.
But this is far from being satisfactory criticism.
Which, tremblingly, my lips repeat,
Of rosy youths and virgins fair,
When he, whose verging years decline
Muse of the Lyre! illume my dream,
AWAKE to life, my sleeping shell,
But, pause, my soul, no more, no more —
| Those well acquainted with the original need hardly be
Το μεν εκτεφευγε κεντρου, , reminded that, in these few concluding verses, I have thought
φυσεως δ' αμειψε μεσφην. . right to give only the general meaning of my author, leaving I find the word zertger here has a double force, as it also the details untouched.
signifies that "omnium parentem, quam sanctus Numa, &c. ? This hymn to Apollo is supposed not to have been written
&c." (See Martial.) In order to confirm this import of the by Anacreon; and it is undoubtedly rather a sublimer flight word here, those who are curious in new readings, may place than
Teian wing is accustomed to soar. But, in a poet the stop after curtas, thus:of whose works so small a proportion has reached us, diver
Το μεν εκτεφευγε κέντρον sity of style is by no means a safe criterion. If we knew
φυσεως, δ' αμειψε μορφη». Horace but as a satirist, should we easily believe there could
4 Still be Anacreon, still inspire dwell such animation in his lyre ? Suidas says that our poet wrote hymns, and this perhaps is one of them. We can per
The descant of the Teian lyre:) The original is Toy Areceive in what an altered and imperfect state his works are at that the hymn is by Anacreon ; though, I fear, from this very
κρέοντα μιμου. I have translated it under the supposition present, when we find a scholiast upon Horace citing an ode line, that his claim to it can scarcely be supported. from the third book of Anacreon.
Te Arazpiorta MILOD, “ Imitate Anacreon." Such is the 3 And how the tender, timid maid
lesson giren us by the lyrist ; and if, in poetry, a simple cleFlew trembling to the kindly shade, &c.] Original:- gance of sentiment, enriched by the most playful felicities of
fancy, be a charm which invites or deserves imitation, where Singula de nobis anni prædantur euntes ;
And wafts from our enamour'd arms volent ; and who would not forgive a few irregularities, when
The banquet's mirth, the virgin's charms. atoned for by virtues 60 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
death, full of gloomy and trembling repentance. Chaulieu,
however, supports more consistently the spirit of the Epicu. how many are there in the world, to whom we would wish to
rean philosopher. See his poem, addressed to the Marquis 25, Τον Ανακρέοντα μιμου !
de Lafare1 Here ends the last of the odes in the Vatican Ms., whose Plus j'approche du terme et moins je le redoute, &c. authority helps to confirm the genuine antiquity of them all, though a few have stolen among the number, which we may
5 And, when once the journey's o'er, hesitate in attributing to Anacreon. In the little essay pre
Ah! we can return no more!] Scaliger, upon Catullus's fixed to this translation, 1 observed that Barnes has quoted well-known lines, “ Qui nunc it per iter, &c.” remarks that this manuscript incorrectly, relying upon an imperfect copy
Acheron, with the same idea, is called avižodos by Theocritus, of it, which Isaac Vossius had taken. I shall just mention
and δυσεκδρομος by Nicander. . two or three instances of this inaccuracy - the first which
6 This ode consists of two fragments, which are to be found occur to me. In the ode of the Dove, on the words [Irigosos in Athenæus, book X., and which Barnes, from the similarity ryzais, he says, “ Vatican MS. auruinsav, etiam Pris- of their tendency, has combined into one. I think this a very ciano invito:" but the MS. reads currachenfes, with ourriaow justifiable liberty, and have adopted it in some other fraginterlined. Degen too, on the same line, is somewhat in ments of our poet. error. In the twenty-second ode of this series, line thir. Degen refers us here to verses of Uz, lib. iv., "der Trin. teenth, the MS. has rinit, with « interlined, and Barnes im. ker." putes to it the reading of thron. In the fifty-seventh, line ; 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 AmMS. Aizinuen, a sz' cyty, while the latter has adeanuevos phictyon who first taught the Greeks to mix water with their * Es ara. 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 lavere 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 mirth. If it were not for the beauty of its numbers, the Candenti rursus fulmine corripitur. Teian Muse should disown this ode. “Quid habet illius,
PIERIUS VALERIANUS. llius quæ spirabat amores?"
Which is, non verbum verbo, To Stobæus we are indebted for it.
While heavenly fire consum'd his Theban dame, 3 Bloomy graces, dalliance gay,
A Naiad caught young Bacchus from the fame, All the flowers of life decay.] Horace often, with feeling And dipp'd him burning in her purest lymph; and 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.