An Acre on Tea

8/6/2019 An Acre on Tea

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lpresentc& to^be Xibrar^

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Digitized by the Internet Archivein 2010 with funding from

University of Toronto

http://www.archive.org/details/anacreonaOOanac


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ANACREON


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Otie thousand Copies printed for E^iglandand America.

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ANACREON : with thomasSTANLEY'S TRANSLATION. EDITEDBY A. H. BULLEN. ILLUSTRATEDBY J. R. WEGUELIN.

s ^ ; rf^^1

London :LAWRENCE & BULLEN16 HENRIETTA STREET, COVENT GARDEN

MDCCCXCIII.


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London :Henderson & Spalding, Limited, General Printers,

3 AND 5, Marylebone Lane, W.


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INTRODUCTION.Henri Estienne in 1554 published in Paris a smallquarto (in the beautiful Greek type modelled on thehandwriting of Angelus Vergetius of Candia, andcut by Claude Garamond), entitled'

Anacreontis Teii odcB. Ab Henrico Stepkanoluce& Lati7iitate nuncprimum donatcE . LtUetice. ApudHenrictmi Stephanmn. MDLIIII. Ex PrivilegioRegis. In the Greek preface Estienne is jubilant overthe recovery of the lost poet. He quotes with gustothe verse of Archilochus - ovSev eoTTivovS'. It was Supposed that Anacreon hadbeen irrevocably doomed ; and now, breaking theadamantine fetters that had held him so long,-^Se ' , he hademerged from captivity. Cold critics may sneer atEstienne's enthusiasm ; but the publication of the editioprinceps of the Anacreontea was not the least of themany services rendered to letters by the devoted


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Intyodiictioii.

scholar-printer. Following the example of Ronsard,let us fill a bowl, and drink it up, to his memory :

"Je vay boirc a Henry EstienneQui des enfers nous a renduDu vieil Anacreon perduLa douce lyre teienne."

Ronsard had seen the poems in MS. before publica-tion. In the 1553 edition of his Amours, p. 6, is asonnet beginning " Ces liens d'or, cette bouchevermeille," which was inspired by the Anacreonticyjkv xeXiScuv. Muretus, in his annotations to thissonnet, writes" La fiction de ce Sonet, commaI'auteur mesme m'a dit, est prise d'une Oded'Anacreon encore non imprimee." Later, in thefifth book of his Odes, Ronsard gave a free renderingof the entire poem; and at various times he turnednearly a score of the Anan-eontea into French verse.The influence exercised on the poets of the Pleiadschool by Estienne's discovery was indeed considerable.In 1555 Remi Belleau published a (nearly) completetranslation, graceful and faithful. Olivier de Magnyand Baif rendered various odes with more or lessdeftness. In France the Anacreo7itea still keep theirpopularity. One of the most delightful French poets


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Introductioji. xi

of our own time, Leconte de Lisle, has presented us(in Poemes A7itiqitcs) with a group of charmingAnacreontic translations.The first English poet who sought inspiration from

the Aiiacreontea was Robert Greene, who in Orpharion(1589) has an excellent rendering''Cupid abroadwas lated in the night "of Meo-o^i^/cr/oi? izoff .Appended to Spenser's Amorctfi (1595) is a copy ofverses, " Upon a day as Love lay sweetly slumb'ring,"suggested by the Ode on Cupid stung by the Bee.Then came that mysterious poet " A. W.," whosecontributions to Davison's Poetical Rhapsody (1602)include a translation of the first three Odes. ^ In'^2d.&sons Second Book of Madrigals (161 8) the conceitof Cupid and the Bee is very pleasantly handled.Robert Herrick was saturated with the Anacreojilea:of some Odes he has fairly literal translations, othershe paraphrased, others supplied him with hints andsuggestions. In 1651 Thomas Stanley publisheda (nearly) complete translation of the Odes ; and thistranslation has been reprinted in the present volume.Stanley (born about 1625), a son of Sir ThomasStanley of Leightonstone, Essex, and Cumberlow,Hertfordshire, Kt., was a refined scholar, and a man

^ "A. W."'s translations of these three Odes were extant as earlyas 1596. See my edition of the Rhapsody.


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Introduction. xiii

lodgings in Suffolk Street, on 12th April, 1678, Inthe rendering of particular Odes Stanley has beenexcelled by " A. W." and Cowley ; but, regarded asa whole, his translation is a very agreeable and verysatisfactory piece of work.

Cowley's paraphrases are in his happiest vein. Itcannot be said that his numbers had always a limpidflow ; few poets indeed have been more crabbed andtortuous. But in these Anacreontics he sings with" full-throated ease " ; dallying playfully with hissubject, adding idle verse to idle verse, losing himselfin a maze of delicious reverie. Very diffuse is therendering (" Underneath this m^yrtle shade") of, but who would grow weary of crooningit over? In the Oxford variorzwi translation (1683)Cowley's renderings are conspicuously the best.Gladly would we exchange reams of his Pindarics forone such Anacreontic as " The Grasshopper"!

Rochester, in "The Cup," successfully reproduced thespirit of T6v apyvpov (p. 42) ; Matthew Prior's" Cupid turned Stroller " is among the best of the manyversions of ( " ; and a word ofqualified praise may be given to the attempts ofOldmixon and Ambrose Philips. In the eighteenthcentury the translations of John Addison, ThomasFawkes, Sec, were highly esteemed, but it must be


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xiv Introduction.

confessed that they are dull, uninspired, mechanicalperformances. Nor can I find much to admire inThomas Moore's flashy renderings, which passedthrough so many editions in the early years of thepresent century and still enjoy a certain measure ofpopular favour. In 1800, when the first editionappeared, there was little poetry in the air, and Moorewas very young. Had he taken the task in hand afew years later, he would have done more justice to theorisfinal and to himself ; but he could never haverivalled Stanley's finished elegance. The introductoryessay and the copious footnotes are the most attractivepart of Moore's book. Byron's youthful essays inHours of Idleness call for no comment. Since thedays of Byron and Moore, our English poetspoetsin a genuine sense, not mere versifiershave leftAnacreon severely alone.

Fluttering from end to end of Europe, the airyAnacreontea have learned the languages of Spain,Italy, Germany, Holland, Sweden, Poland, Russia.Among the many poets who have translated thecharming Ode to the Gnisshopper the most famouswas Goethe,

It must be frankly conceded that, in spite of thewide popularity they have won, the Afiacreonteaare not of the first order of poetry. The best pieces


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Introduction. xv

Love's Night Walk, Cupid and the Bee, The Grass-hopper, &c.are happily inspired and trip gracefully ;but many are of mediocre merit, and some (latecompositions of frigid grammarians) are inept andfutile. No sensible critic is likely to endorse credulousJoshua Barnes' judgmentthat all antiquity hasproduced nothing finer than To po^ov to '(p. 12).

Scholars are, of course, agreed to-day that theAnacreontea are not the work of the genuineAnacreon. Even at the time of their originalpublication the general chorus of praise was dis-turbed by some dissentient voices. Robortello ^ in1557 iJDe Ratione Corrig^ roundly asserted that thewhole collection was a fraud. But his animus againstEstienne carried him too far. Some of the poems areprobably as late as the eight or the ninth century of theChristian era ; but there are no modern fabrications.The m.anner in which Estienne issued the collection

excited suspicion. To his edition of DionysiusHalicarnassensis ^? Vvaiov^-, 1554,he prefixed a letter to Piero Vettori, wherein he

^ " Primus quidem exstitit Robortellus, vir vere criticus, qui inlibro de ratione corrig. p. 26 ed. Patav. 1557 ubi Stephani incuriamin manuscriptis tractandis vituperat, haec omnia carmina nihil nisiinsulsos quosdam posterioris aevi lusus esse professus est." Stark,QucEstiones Anacreontic(E (1846).


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i Introductio7i.

made the following announcement of his forthcomingAnacreon : " Haec igitur, mi Victori, nunc accipe,duni me ad Anacreontis Teii editionem comparo :cujus tu quidem certe poesin una ex oda, vel potiusex odario uno, quod a me acceperas (ut ille olim exungue leonem) aestimasti : quantum vero ea in rejudicio valueris tum demum facile intelliges quumcorpus totum protulero. Proferam autem, ut spero,propediem : et jam protulissem nisi me vana spestenuisset fore ut ad duo ejus exemplaria, quse diversisin locis non sine immenso labore invenire mihicontigit, tertium accederet. Nam ex duobus hisalterum in membranis, alterum in cortice arborisscriptum erat : illud confusum et alicubi non satisemendatum : hoc adeo antiquum ut in singulis verbislitera aliqua oculos fugeret, ut taceam adeo diversamfuisse elementorum formam a nostris ut prius anposset legi cogitandum fuerit quam an posset intelligi.Nee tamen interim sum passus in meis manibus utsine luce ita sine fructu tanto tempore versari ; exuno enim Anacreonte tres feci : ut jam non Grsecustantum sed Latinus etiam et Gallicus proditurus sithie poeta : idque eo feci ut etiam a linguse Graecserudibus aliquam gratiam inirem." The MS. " incortice arboris scriptum " is generally regarded asmythical. But the parchment MS., which Estienne


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Introduction. xvii

carefully concealed from the scholars of his age, nowreposes in the Bibliotheque Nationale at Paris. Thestrange eventful history of this MS. is carefully tracedin the preface to Valentin Rose's edition of theAnacreontea (ed. 2, Lipsise, 1876). It was originallybound up with the famous Anthologia Palatina. Thecomplete volume, which belongs to the eleventhcentury, contained 709 pages ; the Anthologia extend-ing over pp. 1-6 14, and the Anacreontea'^ (^'AvaKpiovTo^--) filling pp. 675-69O. Thisinvaluable volume had been purchased about themiddle of the sixteenth century by an Englishmantravelling in Italy, John Clement,^ a protdg^ of SirThomas More. Estienne appears to have had theloan of the MS. from Clement, who died in 1572.Subsequently the volume was bought for the Palatinelibrary at Heidelberg, where it was examined in 1607by the young Salmasius. At the capture of Heidel-berg by the Archduke Maximilian of Bavaria in 1623,it was carried by Leo Allatius with other preciousMSS.all stripped of their bindingsto the Vatican,as a present to Pope Gregory XV. When the volume^In 1 781 the Abbe Spalletti printed a fac-simile of the MS.

Anacreontea.''An account of John Clement is given in the Dictionary of

National Biography.b


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xviii hitroduction.

was rebound it was divided into two parts,theAntJiologia (pp. 1-614) being bound as one volume,and pp. 615-709 forming another. The twovolumes were among the treasures taken to Paris in1797 by the French Directory. In 1816 theAntJiologia Palatina was restored to Heidelberg;but the smaller volume (pp. 615-709), escapingobservation, remained at Paris. A romantic historySome of the choicest flowers of the Greek epigram-matists are preserved in pp. 1-6 14. When oneconsiders what perilous risks they have run, coitformidiite sanguis.

C. B. Stark, whose QucBstiones Anacreonticce isthe chief authority on everything that relates toAnacreon, quotes with approval the dictum ofHermann :" Paucissima videntur Anacreontis esse,pleraque multo recentiorum, quaedam etiam planeimperitorum hominum sunt." But it would bedifficult to select from the Anacreontea a singlepoem that can be satisfactorily assigned to the trueAnacreon. Bergk in dealing with the pseudo-Anacreon is needlessly severe ; his tone is tooimpatient and contemptuous. But it is not sur-prising that the editor of the peerless lyrists of thegreat age of Greek poetry spurned the prettydelicacies of the Anacreontea. " De originibus


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Introduction. xix

horum carminum," he writes, "accurate et doctedisputavit C. B. Stark : neque tamen, quod illeexistimat, germanum ullum Anacreontis carmen inhis inest, sed recentioris originis sunt omnia, diversisilia quidem setatibus composita et temporis decursuidentidem immutata." Doubtless Bergk was absolutelyright. For my own part I would go a step further, andwould say that one or two pieces attributed by Bergkto the true Anacreon should be relegated to theAnacreontea,To what approximate date the earliest poems in

the Anacreontea should be ascribed no scholar hasdefinitely determined. It is a difficult inquiry; buta few may possibly be assigned to the third centuryB.C.The pseudo-Anacreon tic poems were sometimes

accepted as genuine by ancient critics who ought tohave known better. Aulus Gellius (Noct. Att. xix.9) quotes apyvpov , with a somewhatdifferent text. It is inferior to many pieces in theAnacreontea; but Gellius could not have been moreenthusiastic about it if it had been one of the bestpoems of the true Anacreon. He introduces it thus.A young man, of culture and position, gives abanquet ; and among the guests is a rhetoricianAntonius Julianus, who is reputed to be well versed

2


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XX Introduction.

in all polite literature. The host had a pretty tastefor music, and after the banquet Julianus suggeststhat the players and singers should be brought in :whereupon "posteaquam introducti pueri puellsequesunt, jucundum in modum 'Am/c^eoVrem pleraque etSapphica et poetarum quoque recentium idylliaqusedam^/ dulcia et venusta cecinerunt." Allthe guests were charmed with the songs ; but Gelliusassures us that the verses which specially delightedthem were the " versiculi lepidissimi Anacreontissenis " printed on p. 42. Some Greeks who werepresent triumphantly asked Julianus "quid deAnacreonte caeterisque id genus poetis sentiret ?What Latin poets had written so melodiously ?" Nisi Catullus, inquiunt, forte pauca et Calvus itidempauca." In reply the rhetorician bored the companywith an encomium on some musty old Latin poetsValerius ^dituus, Porcius Licinius, and QuintusCatulus.How the hemiambics came to be the generally

adopted metre for the Anacreo7itea is not clear.Lightly handled, for amatory and bacchanalian songs,the measure is attractive ; but I cannot discover thatit was a favourite with the true Anacreon. In thefourth and fifth centuries Gregory Nazianzen andSynesius employed it in their hymns.


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Introduction. xxi

Of the genuine Anacreon we possess only a fewfragments, but they are enough to show how seriousa loss we have suffered. The addresses to Artemisand to Dionysus (pp. 163-4) belong to the goldenage of Greek lyrical poetry. Their clear utteranceand faultless rhythm are far removed from the shallowelegance of the Anacreontea. The fragment quotedby Athenaeus, " - (p. 165), hasthe haunting charm of Sappho's songs. And whatcould be daintier than the warning to the waywardThracian damsel, UwXe Sij yue (which Horaceimitated in "Vitas hinnuleo me similis, ").*Anacreon had also a turn for invective : his ridicule ofArtemon, an effeminate upstart, is sufficiently bitter.

Anacreon was born in the sixth century b.c, atTeos, an Ionian city in Asia Minor. About 540,when Harpagus reduced Teos to slavery, he fled toAbdera, in Thrace. Polycrates invited him to Samos,and there he remained until the tyrant was murderedin 522. In Herodotus (iii. 121) there is a story ofa herald who was sent by Oroetes to Samos, Hewas ushered in to the royal presence, and foundPolycrates engaged with Anacreon. Whether toshow his contempt for Oroetes, or out of carelessness,Polycrates lay with his face turned towards the wallwhile the herald was speaking, and when the speech


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xxii Introduction.

was over made no answer. Put case that it hadbeen Lord SaHsbury, Mr. Swinburne, and the RussianAmbassador! Maximus Tyrius would have usbelieve that the love-poems were a public benefitto Samos, in that they softened Polycrates' heartand induced him to treat his subjects with lenity.Plato {Hipp. 228 C.) is the authority for the state-ment that Hipparchus after the murder of Polycratessent a fifty-oared galley to fetch the poet in state toAthens, where (as w^e learn from Pausanias i. 25)the citizens set up a statue in his honour at theAcropolis. According to Lucian i^De Macrob. c. 26),he died at the age of eighty-five, the tradition beingthat he was choked by a grapestone. Simonideswrote two epitaphs upon him ; and there are othersby Antipater of Sidon,one being the beautifulepigram QaKKoi, ., ,which was worthily rendered by Goethe.The Alexandrine critics included Anacreon among

the Nine Lyric Poets,with Pindar, Bacchylides,Sappho, Simonides, Ibycus, Alcseus, Alcman, andStesichorus. They divided his poems into five books.Among his commentators were Zenodotus of Ephesus,and Aristarchus ; and we know from Athenaeus (xii. 533)that Chamieleon of Pontus wrote a book about him.How long the collection of genuine poems was


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Introductioii.

preserved in its integrity cannot be ascertained.Athenaeus in the third century a.d. declared thatAnacreon was in everybody's mouth, -tV ^ Slo.(xii. 6oo). It is reasonable to suppose thathe was not referring to spurious productions, for allthe quotations scattered through the Deipnosophist(Bare drawn from authentic sources. Maximus Tyriusseems to have been well acquainted with the genuinepoems, through we need not pin our faith to hisanecdotes about Anacreon. Gradually the facileAnacreontea superseded the older poems in popularfavour. Scholars continued to cite the true Anacreonin illustration of some point of grammar or metre ;and antiquaries consulted his pages for informationon old manners and customs. Finally he sharedthe fate of Sappho ; and now all that remains ofthe "boast of the lonians " (^? //, as he wasstyled by Antipater of Sidon) is a slender scroll ofblurred fragments. The student will find thesefragments annotated in Bergk's Grcsci Lyrici Poetce}I have been content to present merely the Greektext, without notes or translation. Had I discoveredany good translations of the longer fragments Iwould gladly have included them ; but they are notto be had. Mr. Robert Bridges could, an he would,

^ They may also be read in Mr. George S. Farnell's useful andvaluable Greek Lyric Poetry, 1891.


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XX hitroduction.

give us faultless renderings of the hymns to Artemisand Dionysus, but the task is not to be entrusted toinferior hands.The truth is that I issued this little book solely

from selfish motives. I am well aware that theAnac7'eo7itea are of slight value ; but the first pieceof Greek verse that I learned as a youngster was

6' Xeyeiv ^,^ and I have never ceased tocherishwith a regard that I allow to be uncriticalthese elegant trifles. They come to me laden withmemories of Ronsard, "A. W.," Herrick, Stanley, andCowley. I wanted to read them once again, with theadvantage of fair type and ample margin. So I sentthem to press, indulging the hope that I might havetime to annotate them amply. But I find that inthese days a publisher has little leisure for research.

I am greatly indebted to I\Ir. J. R. Weguelin forhis illustrations. He has shown that he is one ofthe very few artists who combine high technicalexcellence with pure classical refinement.

1 6, Henrietta Street,CovENT Garden, London,

December^ 1892,

^ Henri Estienne arbitrarily, but tastefully, printed this piece asthe first poem in his collection. I have mainly followed hisarrangement of the poems ; but in the List of First Lines theorder adopted by Bergk (who follows the Palatine MS.).


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LIST OF ILLUSTRATIONS.

"}

Frontispiece.

Love's Night WalkRoses

f " Or a crystal spring wherein( Thou mightst bathe thy purer skin

The Invitation...The PictureLove ImprisonedThe SpringThe BeeOn a Basin wherein Venus was Engraved

TO FACE PAGE713

41

53657795103

123


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INDEX OF FIRST LINES OF THEANACREONTEA.

(The bracketed numbers give the order of the Odes as they areprijiied in Bergk's Lyrici Graeci Poetse.)

^.' ()*'A


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XXVlll Index.

*Ev (26 ) (38)(30)^ TveXeia (14)" iv (33)" ri? ()'. yrj irivet (21) ...

(22)\^ (2) ..., (2) ...Xiyetv^ {22,)

"IBe? '9 (44)' (36) ...(4) Aeyovatv


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Index," 6 ^


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ANACREON.I.

ANACREONTEA.


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...Xeyeiv, ".

7^/>/ vevpoj^,Kouy(x) fJbev jjhov^ ',oire "^' " jap.


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ANACREON.

The Ltite.

Of th' Atrides I would sing,Or the wand'ring Theban king ;But when I my lute did prove,Nothing it would sound but loveI new strung it, and to playHerc'les' labours did essayBut my pains I fruitless found ;Nothing it but love would soundHeroes then farewell, my luteTo all strains but love is mute.

2


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.II.,' ^,-,,/,^ [(,ryVVai^lV ,

;,') ,.


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.III. ,/, ^,/' /^,' ^,, , ;.

' ',, ^ '^, ^ '-,'


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Loves Night Walk.III.

Downward was the wheeling BearDriven by the WaggonerMen by powerful sleep opprest,Gave their busy troubles restLove, in this still depth of night,Lately at my house did lightWhere, perceiving all fast lock'd,At the door he boldly knock'd."Who's that," said I, ''that does keepSuch a noise, and breaks my sleep ? "" Ope," saith Love, " for pity hear ;Tis a child, thou need'st not fear.Wet and weary, from his wayLed by this dark night astray."With compassion this I heard ;


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8

,, ,,, ]., ^,, ,,6 , ^,^,' ,, ,^ '],Kap^iTjv.


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Light I struck, the door unbarr'd ;Where a little boy appears,Who wings, bow, and quiver bears ;Near the fire I made him stand,With my own I chafd his hand,And with kindly busy careWrung the chill drops from his hair.When well w^arm'd he was, and dry,*' Now," saith he, "'tis time to tryIf my bow no hurt did get.For methinks the string is wet."With that, drawing it, a dartHe let fly that pierc'd my heartLeaping then, and laughing said,** Come, my friend, with me be glad ;For my bow thou seest is sound,Since thy heart hath got a wound."


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.IV./,,67/ '' ^.

*

/^ .hi ;j^ ' ;, ,, ^', ',], ',,^ .


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I I

\0n HimselfIV.

On this verdant lotus laid,Underneath the myrtle's shade,Let us drink our sorrows dead,Whilst Love plays the Ganimed.Life like to a wheel runs round,And ere long, we underground(Ta'en by death asunder) mustMoulder in forgotten dust.Why then graves should we bedew?Why the ground with odours strew ?Better whilst alive, prepareFlowers and unguents for our hair.Come, my fair one ! come awayAll our cares behind us lay.That these pleasures we may know,Ere we come to those below.


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12

.V.10 pcQOu '^ ,, ,^, ,^ ^jeXrjjjjaj,[poloj *]}) .,,,/^ .


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^;=^

c '^t^^ yi^jB^^A


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13

Roses.V.

Roses (Love's delight) let's joinTo the red-cheek'd God of Wine ;Roses crown us, while we laugh,And the juice of Autumn quaff!Roses of all flowers the king,Roses the fresh pride o' th' Spring,Joy of every deity.Love, when with the Graces heFor the ball himself disposes,Crowns his golden hair with roses.Circling then with these our brow,We'll to Bacchus' temple go :There some willing beauty lead,And a youthful measure tread.


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.I.,,,^ .,' .'dL//ko/tOj^.' "^[ ^ ^].


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15

Another.VI.

Now with roses we are crown 'd,Let our mirth and cups go round,Whilst a lass, whose hand a spearBranch 'd with ivy twines doth bear,With her white feet beats the groundTo the lute's harmonious sound,Play'd on by some boy, whose choiceSkill is heighten'd by his voice ;Bright-hair'd Love, with his divineMother, and the God of Wine,Will flock hither, glad to seeOld men of their company.


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i6.VII.) ,^,fjurelpev ^ *KpojdLTj /^ '.

eiirevyap ^) ^.


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17

The Chase.VII.

With a whip of lilies, LoveSwiftly me before him droveOn we cours'd it, through deep floods,Hollow valleys, and rough woods,Till a snake* that lurking lay,Chanc'd to sting me by the wayNow my soul was nigh to death.Ebbing, flowing with my breath ;When Love, fanning with his wings,Back my fleeting spirit brings ;"Learn," saith he, "another dayLove Avithout constraint t' obey."

* Stanley read Trelpev.


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i8

ONAP.VIII./ ^^^,

yeyavCi)fjijevoqehoKOvv(,^^ ,7,^ /uijOi/ ./ '''.


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19

The Dream.VIII.

As on purple carpets ICharm'd by wine in slumber lie,With a troop of maids (resortedThere to play) methought I sported ;Whose companions, lovely boys,Interrupt me with rude noise ;Yet I offer made to kiss them,But o' th' sudden wake and miss them.Vext to see them thus forsake me,I to sleep again betake me.

C 2


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20

1.IX.

;-67' "- ^ ;

; ,--, ,.- oy *


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21

The Dove.IX.

Whither flies my pretty dove ?Whither, nimble scout of Love ?From whose wings perfumes distil,And the air with sweetness fill."

Is't to thee which way I'm bent?By Anacreon I am sentTo Rhodantha, she who allHearts commands, Love's general.I to Venus did belong,But she sold me for a songTo her poet ; his I am.


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22

'', ,7,kojI {he^,, ^^ , 'jdp 7) ay,

levlpeaivaypiov ;' '


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23

And from him this letter came,For which he hath promis'd meThat ere long he'll set me free.But though freedom I should gain,I with him would still remain ;For what profit were the change,Fields from tree to tree to range,And on hips and haws to feed.When I may at home pick breadFrom his hand, and freely sup


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24

ohov, ' ,

OeairoTT^v pe./] ' eir^,' '

, ',, .


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25

Purest wine from his own cup ?Hovering then with wings display'd,I my master overshade ;And if night invite to rest,In his harp I make my nest.Now thou dost my errand know,Friend, without more questions go ;For thy cuiiiosityMakes me to outchat a pie."


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20

.."'^] ',,, ;' 6/776,3' %*' Ja] itavy^ '

' ., do ^, ,'^ ^- ' el ^,

'^.


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27

Love in Wax.X.

As Love's image, to be sold,Wrought in wax I did behold.To the man I went ; ''What is,Friend," said I, "the price of this?"" Give me what you please," he said ;"This belongs not to my trade.And so dangerous a guest.In my house I'm loth should rest."" Give m' him for this piece," said I," And the boy with me shall lie."But, Love, see thou now melt me,Or I'll do as much for thee.


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29

TJie Combat.XL

Now will I a lover be ;Love himself commanded me.Full at first of stubborn pride,To submit my soul denied ;He his quiver takes and bow,Bids defiance, forth I go,Arm'd with spear and shield, we meetOn he charges, I retreatTill perceiving in the fightHe had wasted every flight,Into me, with fury hot.Like a dart himself he shot,


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32

.XIII.0/ ^ /],'v ovpeaiv^,^( ^JeJ'voe,/] efhTj;.


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33

[Wine and Love.]XIII.

Atis through deserted groves,Cybele invoking rovesAnd like madness them befellWho were drunk at Phoebus' wellBut I willingly will proveBoth these furies, Wine and Love.

D


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34

.XIV.Aeyovaiv ^ *\\,^ /,KOfjjaq (J^ev er ,xpiXov ,,/ //, / -,' /,^ jepovTi77 ^.


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The Old Lover.XIV.

By the women I am told" 'Las ! Anacreon thou grow'st old,Take thy glass and look else, thereThou wilt see thy temples bare."Whether I be bald or no,That I know not, this I know,Pleasures, as less time to tryOld men have, they more should ply.

D 3


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TO .XV.> > jUbeXei ^,^^ '' 6/ ^,ovL ^./ ',,6 ;/,,^ ,, ' ^," '


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\Content^XV.

I NOT care for Gyges' sway,Or the Lydian sceptre weigh ;Nor am covetous of gold,Nor with envy kings behold ;All my care is to prepareFragrant unguents for my hairAll my care is where to getRoses for a coronetAll my care is for to-dayWhat's to-morrow who can say ?Come then, let us drink and dice,And to Bacchus sacrifice,Ere death come and take us off.Crying, Hold ! th' hast drunk enough.


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.XVI.^ Xejeig '',^ '

6 ,' ,, ^'he,, ^.


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.XVII.ev,'^ ^.&' ),aei^ '^,

aei ^,^ , ',^,,/.[,)[,voJ '.


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7^^"


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The IVish.XVII.

NiOBE on Phrygian sandsTurn'd a weeping statue stands,And the Pandionian MaidIn a swallow's wings array'd ;But a mirror I would be,To be look'd on still by theeOr the gown wherein thou'rt drest,That I might thy limbs invest ;Or a crystal spring, whereinThou might'st bathe thy purer skin ;Or sweet unguents, to anointAnd make supple every jointOr a knot, thy breast to deck ;Or a chain, to clasp thy neck ;Or thy shoe I wish to be,That thou might'st but tread on me.


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The Clip,XVIII.

Vulcan come, thy hammer take,And of burnish'd silver make(Not a glittering armour, forWhat have we to do with war ?But) a large deep bowl, and on itI would have thee carve (no planetPleiads, Wains, or Waggoners,What have we to do with stars ?


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44

TTo/e/ ^,,',,

yeXoJaav,o[JIjoZ' ^.

.XIX.'

^ '^ ' *


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But to life exactly shape)Clusters of the juicy grape ;Whilst brisk Love their bleeding headsHand in hand with Bacchus treads.

AnotJier.XIX.

All thy skill if thou collect,Make a cup as I directRoses climbing o'er the brim,Yet must seem in wine to swim


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46

/,,] , ];,/ , 'yovov^ 'tj,\,

''

'

^ .


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Faces too there should be there,None that frowns or wrinkles wearBut the sprightly Son of Jove,With the beauteous Queen of Love ;There, beneath a pleasant shade,By a vine's wide branches made,Must the Loves, their arms laid by.Keep the Graces company ;And the bright-hair'd god of dayWith a youthful bevy play.


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TO .XX.[jjeXajivOj ,// 06 hevope .Tiivei ,,} ].^ [j(j(Lxeae\,

;


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\The Need of Driiiking?^XX.

Fruitful earth drinks up the rain ;Trees from earth drink that again ;The sea drinks the air* the sunDrinks the sea, and him the moon.Is it reason then, d'ye think,I should thirst when all else drink ?

* Stanley read irlvei S" avpa


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.XXL , , ,/ Oj^jvaTi *(, yap ^^^,,^' '^, ;


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\0n Himself^XXI.

Reach me here that full crown'd cup,And at once I'll drink it upFor my overcharged breastPants for drouth, with care opprestWhilst a chaplet of cool rosesMy distemper'd brow incloses ;Love I'll drench in wine ; for theseFlames alone can his appease.

2


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.XII.Ylapoj TTjv ,,levlpov' .' ^^^TTTjjTj '/ ;


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The Invitation.XXII.

Come, my fair, the heat t' evade.Let us sit beneath this shadeSee, the tree doth bow his head,And his arms t' invite thee spreadHark, the kind persuasive springMurmurs at thy tarrying :Who molested by the sunWould so sweet a refuge shun ?


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[Go/d]XXIII.

If I thought that gold had powerTo prolong my life one hour,I should lay it up, to feeDeath, when come to summon meBut if life cannot be bought.Why complain I then for nought ?Death not brib'd at any price.To what end is avarice ?Fill me then some wine ; but seeThat it brisk and racy be,Such as may cold bloods inflame,For by Bacchus arm'd we'll aimAt Cythera's highest pleasure :Wine and love's the only treasure.


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.XXIV./^

o^eveiv,, ^^ '' '^ ^^/, /./ [ '/^6 (JjOI .

[J(j^ ,/,,,


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\0n Himself?\XXIV.

I AM sprung of human seed,For a life's short race decreed ;Though I know the way I've gone,That which is to come's unknown.Busy thoughts do not disturb me ;What have you to do to curb me ?Come, some wine and music giveEre we die, 'tis fit we live.


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.XXV.

ohov,/^ ,, ,;, '^

;,'

"^ \.


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\0n Himself^XXV,

When with wine my soul is arm'd,All my grief and tears are charm'd ;Life in toils why should we waste,When we're sure to die at last ?Drink we then, nor Bacchus spareWine's the antidote of Care.


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.XXVI.' ],'

' ^ ,ael^eiv,,' ,/ /^.^ ////.^ /

jap tj.


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\0n Himself:\XXVI.

When my sense in wine I steep,All my cares are lull'd asleep :Rich in thought, I then despiseCroesus, and his royalties ;Whilst with ivy twines I wreathe meAnd sing all the world beneath me.Others run to martial fights,I to Bacchus's delights ;Fill the cup then, boy, for IDrunk than dead had rather lie.


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62.. ,,elaeXdy ^,^^ . 'f^era, ^

^,) .


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63

[To Dwuysiis.]XXVII.

JovE-born Bacchus, when possest(Care-exiling) of my breast,In a sprightly sarabandGuides my foot and ready hand,Which an even measure setsTwixt my voice and castanets ;Tir'd we sit and kiss, and thenTo our dancing fall again.


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The Picture.XXVIII.

Painter, by unmatch'd desertMaster of the Rhodian art,Come, my absent mistress take,As I shall describe her : makeFirst her hair, as black as bright,And if colours so much rightCan but do her, let it tooSmell of aromatic dew ;


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66

' -,/ ^}hajKOTrre, ' ', /,,,eJbJJ,, ,' , ,


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Underneath this shade, must thouDraw her alabaster brow ;Her dark eye-brows so disposeThat they neither part nor close,But by a divorce so slightBe disjoin'd, may cheat the sightFrom her kindly killing eyeMake a flash of lightning fly,Sparkling like Minerva's, yetLike Cythera's mildly SAveet

F 2


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68

ypoj^e plvcL ,cohoj yaXaKTi,, ,^poa'koJvov ^,'] Xvyh'uco .'Xlyov, .yap,,, ,


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09

Roses in milk swimming seekFor the pattern of her cheek :In her lip such moving blisses,As from all may challenge kissesRound about her neck (outvyingParian stone) the Graces flyingAnd o'er all her limbs at lastA loose purple mantle castBut so ordered that the eyeSome part naked may descry,An essay by which the restThat lies hidden may be guess'd.

So, to life th' hast come so near,All of her, but voice, is here.


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.XIX.TOP, //.',vlo6ev [,' '

'

, , .(,[^> jopyov ,/ ^,' ,%^ ^^,


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Another.XXIX.

Draw my fair as I command,Whilst my fancy guides thy hand.Black her hair must be, yet bright,Tipt, as with a golden light,In loose curls thrown o'er her dressWith a graceful carelessness ;On each side her forehead crownWith an arch of sable down ;In her black and sprightly eyeSweetness mix with majesty,


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72

,/ ^ ^po'heTjv irolei '

', ,^ yap, /,'^ re,'

^^.


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That the soul of every loverThere 'twixt hope and fear may hover;In her cheek a blushing redMust by bashfulness be spread ;Such her lips, as if from thenceStole a silent eloquence :Round her face, her forehead high,Neck surpassing ivory


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74

h^v^ag ,^ he ^,' .-^ ' ,,,.,7/^ ' ' , ^ ;/3 '

/.^% ,,


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But why all this care to makeHer description need we take ?Draw her with exactest artAfter Venus in each partOr to Samos go, and thereVenus thou mayst draw by her.


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^^^^-' MW^,.ef>i.


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77

Love Imprisoned.XXX.

Love, in rosy fetters caught,To my fair the Muses broughtGifts his mother did preferTo release the prisoner,But he'd not be gone though free,Pleas'd with his captivity.


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78

..; , ,; hoKel eivai '^ ' ,, Se ^ ''/,.


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Europa..This the figure is of Jove,To a bull transform'd by Love,On whose back the Tyrian MaidThrough the surges was convey'dSee how swiftly he the wideSea doth with strong hoofs divide ;He (and he alone) could swim,None o' th' herd e'er follow'd him.


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8

.XXXII./ ^,el ^ evpelv7],, ^.,\^ '

'

/^ 'yap ,,,


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The Accompt.XXXII.

If thou dost the number knowOf the leaves on every bough,If thou can'st the reckoning keepOf the sands within the deep ;Thee of all men will I take,And my Love's accomptant make.Of Athenians first a scoreSet me down ; then fifteen more ;Add a regiment to theseOf Corinthian mistresses,For the most renown 'd for fairIn Achasa sojourn there ;


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82

Koi ^^KCLi ^( Vol./ 7) ; / ,,-,

TTjq/ }^',', ,,^^ ;


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83

Next our Lesbian Beauties tellThose that in Ionia dwell ;Those of Rhodes and Caria countTo two thousand they amount.Wonder'st thou I love so many ?'Las of Syria we not any,Egypt yet, nor Crete have told.Where his orgies Love doth hold.What to those then wilt thou sayWhich in eastern Bactria,Or the western Gades remain ?But give o'er, thou toil'st in vain ;For the sum which thou dost seekPuzzles all arithmetic.

G 2


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.XXXIII.] ^

'^^,^ /;.

^ ,


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86.XXIV.

, ,liieiv ',,

eyoj ,,^'' '


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87

\The Vain Advice?^XXXIV.

Prythee trouble me no more ;I will drink, be mad, and roarAlcmaeon and Orestes grewMad, when they their mothers slewBut I no man having kill'dAm with hurtless fury fill'd.Hercules with madness struck,Bent his bow, his quiver shook ;Ajax mad, did fiercely wieldHector's sword, and grasp'd his shield


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^^ .,,,^^..XXXV.

(, ^,]*^ ' )'/.^] KoikiTjv,


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89

I nor spear nor target have,But this cup (my weapon) waveCrown'd with roses, thus for moreWine I call, drink, dance, and roar.

The Swallow.

XXXV.Gentle swallow, thou we knowEvery year dost come and go ;In the spring thy nest thou mak'stIn the winter it forsak'st.And divert'st thyself awhileNear the Memphian towers, or NileBut Love in my suffering breastBuilds, and never quits his nest


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90

' -,' ,' '- ^.] /vex',^.,' ' ^^ ;

() jobp'.


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91

First one Love's hatch'd ; when that flies,In the shell another lies ;Then a third is half expos'd ;Then a whole brood is disclos'd,Which for meat still peeping cry,Whilst the others that can flyDo their callow brethren feed.And grown up, they young ones breed.What then will become of meBound to pain incessantly,Whilst so many Loves conspireOn my heart by turns to tire ?


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92

TO ../ />Ge hi(/^ ;// ,fLTjbev ;//^/ '/^./3' ^:?, ^ /, ,^]^^ . '.


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93

[Cheerful Living.]XXXVI.

Vex no more thyself and meWith demure philosophyHollow precepts, only fitTo amuse the busy witTeach me brisk Lyaeus' rites ;Teach me Venus' blithe delights ;Jove loves water, give me wineThat my soul ere I resignMay this cure of sorrow have ;There's no drinking in the grave.


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94

TO.XXXVII.polob '

1^6 ^^)^ '$6 ' 'ide o^evei,''[ joaOj,]., ,}.


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The Spring.XXXVII.

See the Spring herself discloses,And the Graces gather roses ;See how the becalmed seasNow their swelling waves appease ;How the duck swims, how the craneComes from's winter home again ;See how Titan's cheerful rayChaseth the dark clouds awayNow in their new robes of greenAre the ploughman's labours seen :Now the lusty teeming EarthSprings each hour with a new birth ;Now the olive blooms : the vineNow doth with plump pendants shine ;And with leaves and blossom nowFreshly bourgeons every bough.


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.XXXVIII.^ , ,'^) ,^^ ^(^,''^ ',,,) tj^vv^ ^.[ ],* This line and the next stood at the end of the poem. Thechange was made by Lachmann.


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\0n Hinisei/.]XXXVIII.

Old I am, yet can (I think)Those that younger are out-drink ;When I dance no staff I take,But a well-fill'd bottle shake :He that doth in war deHght,Come, and with these arms let's fiorhtFill the cup, let loose a floodOf the rich grape's luscious blood ;Old I am, and therefore may.Like Silenus, drink and play.


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98.XXIX. ,]

fXijaheiv ,/ ^./ ^).


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{Frolic lVine?\^XXXIX.

When I ply the cheering bowl,Brisk Lyasus through my soulStraight such lively joy diffusesThat I sing, and bless the MusesFull of wine I cast behindAll my sorrows to the wind ;Full of wine my head I crown,Roving loosely up and down ;

2


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lOO

/ 5 ,,,obov,^^/,, ^,,fvTTO &etrov e/jbov

efroJa.',^,'.


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Full of wine I praise the lifeCalmly ignorant of strife ;Full of wine I court some fair,And Cythera's worth declareFull of wine my close thoughts ITo my jovial friends untieWine makes age with new years sproutWine denied, my life goes out.


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The Bee.XL.

Love, a Bee that lurk'd amongRoses saw not, and was stungWho for his hurt finger crying.Running sometimes, sometimes flying.Doth to his fair mother hie,And help, cries he, I dieA wing'd snake hath bitten me,Call'd by countrymen a BeeAt which Venus, If such smartA Bee's little sting impart,How much greater is the pain,They, whom thou hast hurt, sustain ?


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104.LI.

ohov^,,/ ^^ '/' fjijedrj,/' ] (^ ^,/' ,

/ ,y^ev ^ '' ^ (^^^.


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I05

[Praise of Bacchus.]XLI.

Whilst our joys with wine we raise,Youthful Bacchus we will praise.Bacchus dancing did inventBacchus is on songs intentBacchus teacheth Love to court,And his mother how to sportGraceful confidence he lendsHe oppressive trouble ends ;To the bowl when we repair,Grief doth vanish into air ;


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io6

fJtj6V QiJV ^(^^^^^[^^^'jdo Kephoq^/ ; ;'^aJ ',),-^ ,


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I07

Drink we then, and drown all sorrowAll our care not knows the morrowLife is dark, let 's dance and play,They that will be troubled mayWe our joys with wine will raise,Youthful Bacchus we will praise.


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io8.XLII. *,

'

,[ 01$' '^]]$^^ '^ ^^*.^.


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{J\iirth?^

XLII.I DIVINE Lyseus prize,Who with mirth and wit suppliesCompass'd with a jovial quire,I affect to touch the lyreBut of all my greatest joyIs with sprightly maids to toyMy free heart no envy bears, _Nor another's envy fears ;Proof against invective wrongs,Brittle shafts of poisonous tongues.Wine with quarrels sour'd I hate,Or feasts season'd with debateBut I love a harmless measure ;Life to quiet hath no pleasure.


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I

.XLIII.,,^^7] *,,.7]^ '/^ ,

*,'^ .


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I I I

The Grasshopper.XLIII.

Grasshopper thrice-happy ! whoSipping the cool morning dew,Queen-like chirpest all the daySeated on some verdant sprayThine is all whate'er earth brings,Or the hours with laden wings ;Thee, the ploughman calls his joy,'Cause thou nothing dost destroyThou by all art honour'd ; allThee the spring's sweet prophet callBy the Muses thou admir'd.By Apollo art inspir'd.


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I 12

TO jTjpaq reipei,, /, '^ \^^ 1 JOlo,.XLIV.

^Ya^okovv ova^ *' ^^7 ^^ ,' ova ' ;^ '^ ,^ ^'.


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113

Ageless, ever-singing, good,Without passion, flesh or blood ;Oh how near thy happy stateComes the gods to imitate I

TJie Dream.XLIV.

As I late in slumber layWing'd methought I ran away,But Love (his feet clogg'd with lead)As thus up and down I fled,Following caught me instantly :What may this strange dream imply?What but this ? that in my heartThough a thousand Loves had part,I shall now (their snares declin'd)To this only be confln'd.


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Loves A^'vows.XLV.

In the Lemnian forge of lateVulcan making arrows sate,Whilst with honey their barb'd pointsVenus, Love with gall anoints :Armed Mars by chance comes there,Brandishing a sturdy spear.And in scorn the little shaftOffering to take up, he laugh'd :"This," saith Love, "which thou dost slight.Is not (if thou try it) light ;Up Mars takes it, Venus smil'd ;But he (sighing) to the Child," Take it," cries, " its weight I feel ;" Nay," says Love, "e'en keep it still."

I 2


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,XLVI.^ ',L ',

&e,^evoq, '.Ojpyvpov.ha ^,]'^ ,6,.


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Gold.XLVI.

Not to love a pain is deem'd,And to love 's the same esteem 'd :But of all the greatest painIs to love unlov'd again.Birth in love is now rejected,Parts and arts are disrespected,Only gold is look'd upon.A curse take him that was wonFirst to doat upon it ; henceSprings 'twixt brothers difference ;This makes parents slighted ; thisWar's dire cause and fuel isAnd what's worst, by this aloneAre we lovers overthrown.


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ii8

.XLVII.,^veov '^ *h ^ ^],^ , ,.


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[Youfh/iil Eld?\XLVII.

Young men dancing, and the oldSporting I with joy behold ;But an old man gay and freeDancing most I love to seeAge and youth alike he shares,For his heart belies his hairs.


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.XLVIII.v ajeipTjveov, v ',

ev ,,'yovov afj/KeXov, oivov777607^> J7 ,, ,,^ ^,yXvKvv , .


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[JVine the^XLVIII.

Who his cups* can stoutly bear,In his cups despiseth fear,In his cups can nimbly dance,Him Lyaeus will advance :Nectar of us mortals wine,The glad offspring of the vine,Screen'd with leaves, preserv'd withinThe plump grape's transparent skin,In the body all diseases.In the soul all grief appeases.

* Stanley read " eV."


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122 .LIX.

' KpOj ,( ^ ;

;

2^00^

(jbaKap^v ^,^ jvf/jvav,[Lrj > '^

(jjQva ^^.^ /, ^^/ ,.


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On a Basin wherein Venus was Engraved.XLIX.

What bold hand the sea engraves,Whilst its undetermin'd wavesIn a dish's narrow roundArt's more powerful rage doth bound ?See, by some Promethean mindCytherea there design'd,Mother of the deities,Expos'd naked to our eyesIn all parts, save those aloneModesty will not have shown,Which for covering only haveThe thin mantle of a waveOn the surface of the main.Which a smiling calm lays plain,She, like frothy sedges, swims.And displays her snowy limbs :


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^ ' JavevepOe^^^ KVfjijOij ,.

(jjeaov >.^ ^.apyvpui)

7] 7/hoXepov ,', ^.' ,.


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120

.L. "JeXoJa ^ Tepeivov

, , ,.To'be jOjp aTjfjjd^ToSe kOjI ^api/ja^

ayaX/uij ev^^^ aBvpyijaj,Je\r|JaJ Jo^*

jXvKvv '


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127

The Rose.L.

With the flowery crowned springNow the vernal rose we singSons of mirth, your sprightly laysMix with ours, to sound its praiseRose, the gods' and men's sweet flowerRose, the Graces' paramourThis of Muses the delight,This is Venus' favourite ;Sweet, Avhen guarded by sharp thorns


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128

' ^-/^ ./ Se; / ' repirvov/ca/

/;;|^ ^ ^:^; jevoir ;( ^,^77] ,^ /c'^TiCLpOj ,/^ ,/ ,/ '^ ]

veoTTjToq ^ /.


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Sweet, when it soft hands adorns ;How at mirthful boards admir'dHow at Bacchus' feasts desir'dFair without it what is born ?Rosy-finger'd is the Morn ;Rosy-arm'd the nymphs we nameRosy-cheek'd Love's queen proclaimThis relief 'gainst sickness lends ;This the veiy dead befriends ;This Time's malice doth prevent,Old retains its youthful scent.


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When Cythera from the main,Pallas sprung from Jove's crack'd brain.Then the rose receiv'd its birthFrom the youthful teeming earth ;Every god was its protector,Wat'ring it by turns with nectar,Till from thorns it grew, and prov'dOf Lyaeus the belov'd.

2


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132

.LI.(JJe\avaJ

'^, ,kOjTOj Xtjvqv ,, ,^^ ,'

QV ] ^,,.


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133

The Vintage.LI.

Men and maids at time of yearThe ripe clusters jointly bearTo the press, but in when thrown,They by men are trod alone.Who in Bacchus' praises join,Squeeze the grape, let out the wineOh with what delight they spyThe new must when tunned work highWhich if old men freely take,Their grey heads and heels they shake ;


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134

e TcapOevov

epojToqairaXov ^ ,^ ,TTpohoTiv ^^ ', / 'yap -.


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135

And a young man, if he findSome fair maid to sleep resign'dIn the shade, he straight goes to her.Wakes, and roundly 'gins to woo herWhilst Love slily stealing inTempts her to the pleasing sinYet she long resists his offers,Nor will hear whate'er he proffers.Till perceiving that his prayerMelts into regardless air,Her, who seemingly refrains,He by pleasing force constrains ;Wine doth boldness thus dispense.Teaching young men insolence.


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136

.LIL,^ '^, TOT eg',,TiepiyijOjlvoyuaji^ ^, '^ ' ,AlovvaiTjg Se^

IV ] OjKktjv^'^/ ,,^^(7] he,L ^.


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\0n Himself^LII.

When I see the young men play,Young methinks I am as theyAnd my aged thoughts laid by,To the dance with joy I flyCome, a flowery chaplet lend meYouth and mirthful thoughts attend meAge be gone, we'll dance amongThose that young are, and be youngBring some wine, boy, fill aboutYou shall see the old man's stoutWho can laugh and tipple too,And be mad as well as you.


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138

.LIII.

/Wo/aJpa/y[J(J '^,Se10 /yap

^^ /.


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139

[Love's Mark:\LIII.

Horses plainly are descry'dBy the mark upon their side :Parthians are distinguishedBy the mitres on their head :But from all men else a loverI can easily discover,For upon his easy breastLove his brand-mark hath imprest.


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140.LIV.,' [ 'erepoTTvoovg .

lypOjCpe . ^,kOjI vofLOvq,


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141

{Instructions to a Painter?^LIV.

Best of painters come, pursueWhat our Muse invites thee to,And Lyseus, whose shrill fluteVies with her harmonious lut ;Draw me a full city, whereSeveral shapes of mirth appearAnd the laws of love, if coldWax so great a flame can hold.


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142

.LV.[ OfjijTjpov^] '

pjOl ,,^,,^(^ .


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143

\_JVine and Song7\LV.

Bring me hither Homer's lute,Taught with mirth (not wars) to suitReach a full cup, that I may-All the laws of wine obey,Drink, and dance, and to the lyreSing what Bacchus shall inspire.

Note.The foregoing fifty-five pieces constitute the Odes ofAnacreon in the Editio Princeps of Henricus Stephanus(Paris, 1554). The Palatine MS., from which Stephanusdrew (see Introduction), contains a few additional Anacreonticpoems. Some of these were excluded by Stephanus ; otherswere printed separately in smaller type. Stanley did notinclude any of the additional pieces in his translation.

In the Palatine MS. the Anacreontea(open with the following poem, which

Stephanus silently rejected (as being written about, not by,


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144Anacreon), but which he afterwards printed in his Pindar,1560 (p. 406), under the heading " Incerti Autoris deAnacreonte."

^ ^ ^Key ',^ ^ ,[ *]

ohov,' ^

'^ ''^'^,' ^' h^tv '' ".'7] 'dr/.


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145

The Dream.In a dream unto me cameAnacreon, of Teian fame.He accosted me, and IRan up to him lovingly,And my arms about him threw.Old he was, but fair to view,Fair, a lover of the vine ;His stain'd lip yet breath'd of wine.Falteringly he seem'd to tread ;(Love his trembling footsteps led ;)Crowned was his brow, and heHeld the garland out to me.Of Anacreon it breath'd :Straight my forehead (fool !) I wreath'd ;And from that time till to-dayI by love am plagued alway.


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The next poem, No. 6 in the Palatine MS., was rejected byStephanus for the reason that it is found in the PlanudeanAnthology (lib. vii.) with the heading ' (theAldine edition, 1 503, adding ^). JulianusAegyptius flourished in the sixth century, A.D. I appenda translation from Robert Herrick's Hesperides..

26^ evpovev ,,raiu

ohov'" 7,^.


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147

Upon Cttpid.As lately I a garland bound,'Mongst roses I there Cupid found ;I took him, put him in my cup.And drunk with wine, I drank him up.Hence then it is that my poor breastCould never since find any rest.

L 2


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The following piece, No. 20 in the Palatine MS., wasexcluded by Stephanus, as being about (not by) Anacreon.

'llL'^,^^ 'Yliv'hcfjpiKOV ,.7,

Td7J,.


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149

The Bowl of Soiig.Sweet the song Anacreon sings,Sweet notes flow from Sappho's stringsPindar's strains, their sweets among.Add, to crown the bowl of song.Such a triple charm would sureDionysus' lips allure ;Paphos' sleek-skinn'd queen would deign,Or Love's self, the cup to drain.


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I50

The next poem, No. 41 in the Palatine MS., was relegated byStephanus to the Appendix.

TO KAAOKEPIN.,XeTTTTjv^chvamvei ,KXTjfjija. i^e7v,^,^,

qXtjv.


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1=^1

spring.Pleasant 'tis abroad to strayThro' the meadow deep in hay,Where soft zephyrs, breathing low,Odorous sweets around us throw

;

Pleasant, where the gadding vineWeaves a safe shade, to reclineWith some dainty girl whose breastCypris wholly hath possest.


206/284

152The next piece, No. 58, is more than usually corrupt. I haverendered part of it ; but towards the end the text becomeshopeless. .,'^ /^^,oie} ', '/ * yap

;

[^ ],' ^,' ]^

^,"^ ,


207/284


208/284

154

,^',XvoTjq ^,, t^, hXoig '

irXeovt a^ei^ .

ycLp ,^ *] 're ^

KhTueXXoj KipvSj,^ , ** ^'^ ,tt hoXloiq ^ ' )

'/ .


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155Hoping that himself I'll takeAnd my darling lyre forsake.Faithless Gold, thy labour's naughtBy thy snares I'll not be caught.More delight than Gold doth bringI can gain from my lute-string.Thou men's hearts didst sow with guile,And with envy them defile ;But the lyre


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156

The following piece, No. 60, concludes the Anacreontea inthe Palatine MS. Bergk makes a separate poem of 11. 24-36( Bv^k, ] ..\., on page 158), which seem tohave little connection with the preceding lines. The thingis of little merit, whether it be one poem or two ; and maywell be left untranslated..

',7,',


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157

are

rj^^rj *,, *lepov ^ .&'

'',^ ',^'*6 0^6,,^^ ^.


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159

Among the Anacreontea Bergk includes the three followingfragments :

^ ( kcli '7] Aeyet , ?,rigenes (Hippolytus) adv. Haeret, p. 107, ed.Miller (60 Bergk).T/ Je

SCHOL. Cod. Gud. EURIP. Hec. 1141 (61 Bergk).

,,regok. Cor. p. 396 (62 Bergk).


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215/284

ANACREON..

GENUINE FRAGMENTS.


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103

The genuine fragments of Anacreon are here arranged as inthe fourth edition (1882) of Bergk's Poets Lyrici Grseci ; andBergk's text has been generally folloived.

I.

APTEMIN.\ ^,, ay^- ' \pJl 'Ar/^^

' ,Heph^st. 125.

. 1. 4 Others read, and in 1. 6, iyKaOopa.2


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104

iv'

II..'^, ]

' '^ ,^ * ev^evrjqeXff 'YjfJAv, '7 .'

' ,, ^.Dio Chrys. Or. ii. ^. i. 35.


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1^5

III.

6>' ,'^

erod, irepl,. 57> 5.1. 3,, Bergk. (MSS.?, and .)IV.

^Q ,^ , ' ,^,^,.. 564, D.IV.1. 2, Koel^, Bergk (MSS. aim).


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1 66

V.AAA ^^^

EusT. Od. 1542, 47.

VI.Me/^ JV l^^, ',, aypioi,

cHOL. //. XV. 192 ; ST. //. 10 1 2. ,

VII.

^ yap ^,, SCHOL. //. iii. 219.VI. 11. 2, 3. So Bergk, comparing Hor. Epud. xiii. 2,

" Nivesque deducunt Jovem." Schol. //., '' ayptoL -^^ ^. Eust., ' vSuTt, aypioi ^^.


221/284


222/284

1 68

XL'^Et. . 259, 28.XII. .^ eJv ,ScHOL. Eur. Hec. 361.XII. .^.

Et. Flor. Miller, Misc. 208.

XIII. .y^^ ,

lutarch. Erot. c 4.XIII. .The passage of Plutarch runs thus:

6 6 ^, ianv, ,, ovBe ..,' iv '..fc may extract three verses from this passage by reading

with Pomtow{ Lyr. Graec. Min. i. 301)" (alev)''.


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169

XIII. .^^ 7\.// , [?]Et. Flor. Miller, Misc. 266.

XIV.^^Ojlfrri ^e^];'

'

r/ , yap, ,jdp, kojT,,.. 599 C.XIV. in 1. 3, is Seidler's happy correction

for 7


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XV.^'/ ei/uui,^ .hrysipp. C. 22.

XVI.(') ^], heTTOvaiv\ (,

SCHOL. Od. xxi. 71

XVII."" ^ /,eceiTiov ,'^^ ^ ^^// '].Heph^st. 59 ;. . 472 .XV.Bergk (who reads '/) suggested '/? as a correction for Bevre /?.


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171

XVIII.&' (Avh^\

^^opbrjaiv fjijOuyojbTjv ,, ' ^... 634 C.XIX.^ / -. HEPHiEST. 130.XX.

. , . '^; . . 1/7 .


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172

XXI..^ /,7] ,,,,/

v /, \piXov ire/ {^ ]) ,'^ -,^ '


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173

6V ^, ev,^}fhOjaTiji ,, ^^^^ ^.7,., ^-(),. . 533 .

XXII.', /^/ . HEPH/EST. .XXIII.

: EPHiEST. 52.


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174XXIV.

^\voJoJ(l ]'/ '^'^,

Heph.i:st. 52; ScHOL. Ar. . 1372XXV.^, [h ^ yeveiov^.

LUCIAN. Here. Gall. c. 8.

XXVI. ,. 229 XXV.Restored by Bergk from the following passage of

Lucian :", ^ ';^ ', "^ 6 , , fyeveiov el /


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175XXVII.

/e '/^, PriSCIAN. vii. 7.XXVIII./^ plipag ,. Attil. Fortunat. 359XXIX.

. . . * ^, Et. Gud. 333, 22.XXX.

fJbvpo'KOiov/% ', Heph.est. g6.XXIX. ^ is Schneidewin's correction of .Bergk gives . Nos. XXVIII. and XXIX. evidentlybelong to the same poem.


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176

XXXI.

Heph^st. 52.

XXXII.' [ohov, .xi. 475 F.

XXXIII.OlS' apyvpeTj ,

SCHOL. PiND. Isthvi. ii. 9.

XXXIV./'//( eg '.

Attil. Fortunat. 359.

XXX 1 1 1.? "^, Bergk's doubtful emendation of


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177

XXXV.^lpelv, ',}]SCHOL. //. xxiv. 278.XXXVI.

ScHOL. Od: xii. 313

XXXVII.. . . XtjXivov ayyog . . ..

ollux, vii. 172.

XXXVIII..eSYCH. .".


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178

XXXIX.' .. XV. 6/4 t).XL.2e

Tapyn^Xiog

Apollon. de Synt. 238.

XLI.' e/ca ^tj

fjjTjveq, eiret re^ re(jjeXirjheOj, . XV. 671 .

XLII.' ev ^ (), . . 430 D.


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179

XLIII." ]re' "

TtCLpOj^ jTjpaXeoi ','

'/Qch^jCL ^^,/>, '

' yap^.tob. Floril. c. xviii. 13.XLIV.^'^ () '.Max... g.2


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XLV.E/>ce (yeoi>^ ^ %^ ',

' .Max. Tyr. xxiv. 9.XLVL[^] ' elaiv ^.SCHOL. //. xxiii. 8.

XLVII..KO^v 71, ^}' V ^^.Heph^st. 68.


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i8i

XLVIII..( 'KOfMTjq .

Phavor. ap. Stob. Floy. Ivi. 6.

XLIX..Et.M. 714, 38.L.

/xo/ ddveiv yevon'ryap av

//^ yevoir^ ^,Heph.est. 69.

LI.old re []^^ ev /^};(,. . 396 D.


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1 82

LII.^^^ ,t. . 713. 26.LIII.^ ^ '.. . 427 D.LIV.

'> /^.THEN. XV. 674 C.

LV.^,Heph^st. 69.


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1 83

LVL. , . oiO fjij^' ;

SCHOL. Aesch. Prom. 128.

LVII.^ i , ea-. . 433 F

LVIII.'/ ^eyav.

Apollon. Sophist. 87, 21.

LIX..cHOL. EuRiP. Hcc. 934.


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1 84

LX.. . . yHKorraj yelrovcig,

Ammon. 42, Valck.

LXI.Ylapoj .

EPHiEST. 70.

LXII.^, , ,'/, ;'.. xi. 782 .


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1 85

LXIII.S'jy, ^, ,, ^^ />6 ^ ey%eaj^, Ttevie &',, )jVOj ^7],

Kje ^Tjvre 7]^re^,v{[Mev ).. . 4^7 .

LXIII.The bracketed line at the end was added by Meineke.


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1 86

LXIV^ rjpv.[?]SciiOL. Hesiod. T/ieo^. 767.LXV.yap, ael^eiv '0^6 jap ,.

lem. Alex. Strom, vi. 745.

LXVI.

pabivovq^ , ^.ScHOL. Find. 01. vii. 5.

LXVI I.^, ^.Hephtest. 39.

LXV.This poem ought, perhaps, to be placed among theAnacreontca.


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1 87

LXVIII./ ^^ ',eph^st. 39LXIX.

\ /. . . 21 .LXX.

* //.eph^est. 90.

LXXI.ire jap TjfieTepeiov ovre,

Et. . 429, 5o.


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1 88

LXXIL' ,cHOL. Find. 01. viii. 42.

LXXIL .,.cHOL. HepH/EST. p. 163 (ed. 2 Gaisf.).LXXIII.// (/) 'jy/^/z^ ehaL

Et M. 433, 44.

LXXIV.06(, ^ ^*' \ /^,, Et. . 2, 45


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1 89

LXXV.^], Soy,(jb ;* , ,.V^ jap ,

Heraclid. Pont. Allcg. Horn. c. 4.


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IQO

LXXVI.^^ fjuev^ eie-77 .LXXVn.

Eure yijOi .ulian. Misopog. 366 .

LXXVI 1 1.

eXaloj.cHOL. Soph. A7iiig. 138.

LXXIX.h , Zev, ,erod, de Barbar. 193 post A.MMON., Valck.


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191

LXXX./ eKOxj^e, ^.SCHOL. //.. 542.

LXXXI./ (Jjev

, Cram. An. . i. 288, 3.LXXXI I.

' ",. xi. 49 C.LXXXI .Bergk changes \\6( to.


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192

LXXXIII.', dvTjp ,(Mev ^^ .XV. 671 .

LXXXIV.,,(), '.Plut. adv. Stoic, c. 20 ; HEPHiEST. 29.

LXXXV./ TTOT '[ ^.ZenOB- V. 80.

LXXXVL/, ^,^6^/>6. . , 37, Va/d\


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193

LXXXVIL]ha'. Et. . 523, 4

LXXXVIII.KoL v]^^, . 5 12.

LXXXIX.re ^ ,8. 29-


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194

XC.MoyS' ^^, ))^

/,. . 44^ F.XCI.

/ ^ KapiKevpyeogX^ipcfj ^.Strabo. xiv. 66.XCII.

*0 fjbev ,cip,,Heph^st. 30.XCII." Usus est his auctor carm. Pseudo-anacr. 45, v. 8

et 9." Bergk. (Sec p. 96 of the present edition.) It isdoubtful whether the fragment is genuine.


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195

XCIII.2 pavve ^tj XItjv,.

risc. de Metr. Terent. 249, Lind.

XCIV.., KpTjTTjpi^ /,, ^*^.JJlv^^-], . . .

XCIII.Bergk's somewhat violent emendation ofaeX . . .

2


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196

xcv.OvL /, ye^.

HEPHiEST. II.

XCVI.' (^ ,^,LONGIN. de Siiblim. c. 31XCVII.

OivoTroTTj; ,. xi. 460 D.XCVI 1 1.

AeT ^.acedonius, Ant/i. Pal. x. 70.XCVI 1 1.The epigram of Macedonius (who h'ved in the

reign of Justinian) concludes :fyap ^ ivl,^-, on Jet .


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197

XCIX.Hygin. Astron. ii., 6,

C..*^ , ^^ rjd^ 'yap rotovhe") ajvyepTj; ev(* " Horum carminum satis incerta auctoritas ; nam si

segregaveris aperte novicia, velut 115, 116, et de quibusanceps est judicium, velut 113, etiam ea quie antiquitatisspeciem prae se ferunt, pleraque a mystagogis incertamconjecturam facientibus Anacreonti adscripta sunt, vide ad104. Itaque vel ubi temporis rationes non adversantur,anceps judicium. Leguntur pleraque continuo ordine inAnth. Pal. vi. 134-145, baud dubie ex Anacreontis carminumeditionibus in eclogas epigrammatum translata, sed segreganda


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198

CI.^,ode >''' ^,.

CII.^ayKeirai Kpovlda, ^.sunt duo novissima ; nam 144 neque Anacreontis esse potest,cum ea aetate Academia fuerit locus incultus, ut jam a 1834monui, et iteratur infra post vi. 213 inter Simonidis epigram-mata, ultimum autem 145 ab Anacreonte pariter atque abSimonide alienum. Turbatum hunc locum in archetypofuisse indicat lacuna post 143 in codice et nota in marg.adscripta ov Xeiirec ovSe. Igitur post 143inserta erant Simonidis epigrammata, e quibus unumgermanum (144) superest cui adhaeret alienum (145).Exciderunt praeter Simonidis carmina fortasse unum velalterum Anacreontis." Bergk.


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199

cm., T Xdpiv,, ayXaov( -.CIV.

Hpiu ^ ^ 'Tovde ', 7 ^^.CV.^ ,

' ^ ^;,


254/284


255/284

201

CIX.] [Jjv , le^//>, ' ^ ].CX.,, dihv, ' oheEa.CXI.

', ^"^^ * '^^.


256/284

202

CXII.TeXXih , Maiahgvie.

epOjTOJv ^'

bog be fjjiv^ evivaieiv ^.CXIII,, ^,

aiTjgNoto'j ['/]'

'yap ^^ '^ * lypa^Ja \^ ,


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203

CXIV., ^/,,

' ',^'.

CXV.ayeXav ,.

CXVI.Bolhov , '/, ^ }.


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259/284

NOTES.


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207

NOTES.

Pp. 2-9.The first three Odes have been choicelyrendered by "A. W.," an^ contributor toDavison's Poetical Rhapsody, 1602 :

I.

Of Atreus' sons fain would I write ;And fain of Cadmus would I singMy lute is set on Love's delight,And only Love sounds every string.Of late my lute I altered quite,Both frets and strings for tunes aboveI sung of fierce Alcides' mightMy lute would sound no tune but Love.

Wherefore, ye worthies all, farewellNo tune but Love my lute can tell.


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II,

A compa7'ison betwixt the strength of beasts, thewisdom of man, and the beauty of a woman s face.

The bull by nature hath his horns,The horse his hoofs, to daunt their foes ;

The light-foot hare the hunter scorns ;The lion's teeth his strength disclose.

The fish, by swimming, 'scapes the weelThe bird, by flight, the fowler's net

With wisdom man is armed as steelPoor women none of these can get.

What have they then ,'*fair Beauty's grace,A two-edged sword, a trusty shield ;No force resists a lovely face,

Both fire and sword to Beauty yield.

III.Of late, what time the bear turned roundAt midnight in her wonted way.And men of all sorts slept full sound,O'ercome with labour of the day :The God of Love came to my door,And took the ring, and knocked it hard :"Who's there," quoth I, "that knocks so sore ?You break my sleep, my dreams are marred."


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209

"A little boy, forsooth," quoth he," Dung-wet with rain this moonless night."With that methought it pitied me :I oped the door, and candle light.

And straight a little boy I spied ;A winged boy with shafts and bow ;I took him to the fireside.And set him down to warm him so.His little hands in mine I strain,To rub and warm them therewithalOut of his locks I crush the rain,From which the drops apace down fall.

At last, when he was waxen warm," Now let me try my bow," quoth he ;" I fear my string hath caught some harm.And wet, will prove too slack for me."

He said ; and bent his bow, and shotAnd wightly hit me on the heartThe wound was sore ; and raging hot,The heat like fury reeks my smart." Mine host," quoth he, " my string is well,"And laughed so that he leaped again :" Look to your wound for fear it swell,Your heart may hap to feel the pain."


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21 I

P. .Cowley's paraphrastic rendering of thefourth Ode is delightful :

Underneath this myrtle shade,On flow'ry beds supinely laid,With od'rous oils my head o'erflowingAnd around it roses growing,What should I do but drink awayThe heat and troubles of the day ?In this more than kingly state,Love himself shall on me wait.Fill to me, Love, nay fill it up ;And mingled cast into the cupWit and Mirth and noble Fires,Vigorous Health and gay Desires.The wheel of life no less will stayIn a smooth than rugged waySince it equally does flee.Let the motion pleasant be.Why do we precious ointments shower,Nobler wines why do we pour,Beauteous flowers why do we spreadUpon the monuments of the dead ?Nothing they but dust can showOr bones that hasten to be so.Crown me with roses while I live ;Now your wines and ointments give ;After death I nothing crave.Let me alive my pleasures have :All are Stoics in the grave.

It is better than Ronsard's translation (" Pour boiredessus I'herbe tendre "), or Leconte de Lisle's (" Surle myrte frais et I'herbe des bois ").

2


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P. 12.Ode V. was imitated by Ronsard," Versons ces roses en ce vin,En ce bon vin versons ces roses," &c.

P. 20.Cf. Ronsard, " D'ou viens tu, douce,colombelle ?

P. 28.In Thomas Forde's Loves Labyrinth^ 1660,there is a neat translation of the eleventh Ode. (Itwill be found in my ^nUioXogy Lyricsfrom ElizabethanDramatists, ed. 1891, p. 228.) Cowley also rendered it.

P. 30.Ode xii. Cf. Ronsard, " Tay-toy, babillardearondelle."

P. 32.Ode xiii. There is an early French trans-lation by Antoine de Baif (Quatre Livres de VAmour,1555)'

P. 34. -Odexiv. doubtless suggested to Herrick theverses :

Am I despised because you say,And I dare swear, that I am grey ? &c.{Jtlerrick, ed. Pollard, i. 75-6.)


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213Cowley's version runs thus :

AGE.Oft am I by the women told,

" Poor Anacreon, thou grow'st old,Look how thy hairs are falling allPoor Anacreon, how they fall ! "Whether I grow old or no,By the effects I do not know :This I know, without being told,'Tis time to live if I grow old ;'Tis time short pleasures now to take,Of little life the best to make,And manage wisely the last stake.

Ronsard enlarged on the theme in the versesbeginning *' Quand je veux en amour prendre mespasse-temps." Baif has a translation.

P. 36.Cowley has a very free, and very attractive,rendering of Ode xv. :

Fill the bowl with rosy wineAround our temples roses twine ! &c.

The original is imitated from Archilochus, fr. 24 :Ot; ^ ^ce'Xet,ovS^ eiXe ^, '(5'',^


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p. 40.Ode xvii. was imitated in Ronsard's poembeginning " Plusieurs de leurs corps desnuez," whichhas been deftly turned by my good friend W. J. Lintoni^Poevis and Translations, 1889, p. 130). The song inTennyson's Millers Daughter ("It is the miller'sdaughter," &c.) may have been remotely inspired bythe present ode. In Dr. Barten Holyday's Technogamia,1618, (a Shrove-tide play acted at Christ Church) thereis the following translation :

TO HIS LOVE.Niobe, as they say, once stood,Turned to a stone, by Phrygian floodPandion's daughter (so fame sings),Changed to a swallow, had swift wings :But I a looking-glass would be,Still to be looked upon by theeOr I, my Love, would be thy gown,By thee to be worn up and downOr a pure well full to the brimsThat I might wash thy purer limbsOr I'd be precious balm to 'nointWith choicest care each choicest joint ;Or, if I might, I would be fainAbout thy neck thy happy chain ;Or would it were my blessed hapTo be the lawn o'er thy fair pap ;Or would I were thy shoe, to beDaily but trod upon by thee.


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Another (less happy) translation is by Soame Jenyns.There is a good rendering in Leconte de Lisle'sPoemes Antiques. Voltaire has a playful epigram onthe famous Ode :

Anacreon, de qui le styleEst souvent assez familier,Dit dans un certain Vaudeville,Soit ^ Daphne, soit a Bathylle,Qu'il voudrait etre son Soulier.Je rovere la Grece antique,Mais ce sentiment poetiqueParait celui dun cordonnier.

P. 42.Ode xviii. was imitated by Rochester, inThe Cup:Vulcan, contrive me such a cup

As Nestor used of old ;Show all thy skill to trim it up,Damask it round with gold, &c.

P. 48.Ronsard rendered Ode xx. (" La terre leseaux va boivant"). Barten Holyday in Technogamia,161 8, gives the following version :

The fruitful earth does drink the rain ;Trees drink the fruitful earth again.The sea does drink the liquid airBy the sun's beams the sea-waves areDrunk up, which is no sooner doneBut straight the moon drinks up the sun.Why then, companions, do you thinkI may not with like freedom drink }


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Cowley's paraphrase must be added :

DRINKING.The thirsty earth soaks up the rainAnd drinks, and gapes for drink again ;Tlie plants suck in the earth and areWith constant drinking fresh and fairThe sea itself, which one would thinkShould have but little need of drink,Drinks ten thousand rivers up.So filled that they o'erflow the cup ;The busy sun (and one would guessBy's drunken fiery face no less)Drinks up the sea, and when 'has doneThe moon and stars drink up the sun :They drink and dance by their own light,They drink and revel all the night.Nothing in nature's sober found,But an eternal health goes round.Fill up the bowl then, fill it highFill all the glasses there ! for whyShould every creature drink but I ?Why, man of morals ? tell me, why ?

Shelley's Loves Philosophy bears a distant resem-blance to the present Ode.

P. 54.Ode xxiii. was translated by Ronsard(" Hasi Tor pouvoit allonger," &c.).


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p. "j^.Ode XXX. inspired Ronsard's pleasant odebeginningLes Muses liarent un jourDe chiaines de roses I'Amour,Et, pour le garder, le donnerentAux Graces et la Beauto,Qui, voyant sa doloyaut^,Sur Parnasse emsonnrent.

P. 78.Ode xxxi. Cf. Moschus'_ Second Idyll;also Tennyson's Palace ofArt:Or sweet Europa's mantle blew unclasp'dFrom off her shoulder backward borne :

From one hand droop'd a crocus : one hand grasp'dThe mild bull's golden horn.

P. 80.Ode xxxii. Cf Ronsard,Si tu me peux conter les fleursDu printemps, &c.


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p. 84.Ode xxxiii. was imitated by Herrick :UPOxM HIS GREY HAIRS.Fly me not though I be greyLady, this I know you'll say :Better look the roses redWhen with white commingled.Black your hairs are, mine are whiteThis begets the more delight,When things meet most oppositeAs in pictures we descryVenus standing Vulcan by.

\vi Examen Miscellaneitm, 1702, I nnd the follow-ing version :

Madam, tho' my hairs are grey,Sure you need not run away :You are blooming, fresh and fairAs the budding roses are.Join the lily and the rose,Nothing more becoming shows :In the garlands that we wear'Tis the sweetest mixture there.Try, then, what in me and youTwo such colours now can do.

Cf. Ronsard, " Pourtant si j'ay le chef plus blanc."

P. 88.Ronsard, Baif, and Cowley rendered theOde to the Swallow.


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p. 98.Cf. Herrick :Brisk, methinks, I am and fineWhen I drink my cap'ring wine :Then to love I do inclineWhen I drink my wanton wine, &c.

P. 102.Ode xl., Cupid stung by the Bee, has beenfrequendy imitated. Probably it is itself foundedupon some earlier poem. The spurious NineteenthIdyll of Theocritus deals with this favourite conceit,which we frequently find represented on gems. (Thereproduction on the cover of the present volume isfrom a gem, doubtless modern, that was once in thePoniatowski collection.) Spenser has a copy of versesappended to the Amoretti :

Upon a day, as Love lay sweetly slumb'ringAll in his mother's lap,A gentle Bee, with his loud trumpet murm'ring,About him flew by hap, &c.

In Thomas Bateson's Second Book of Madj'igals,16 1 8, the little ode is charmingly turned :Cupid in a bed of roses

Sleeping, chanced to be stungOf a bee that lay among

The flowers where he himself reposes ;And thus to his mother weepingTold that he this wound did takeOf a litde winged snake,


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As he lay securely sleeping.Cytherea smiling saidThat If so great sorrow springFrom a silly bee's weak sting

As should make thee thus dismay'd,What anguish feel they, think'st thou, and what pain,Whom thy empoison'd arrows cause complain ?

Herrick's version, The Wounded Ctipid ("Cupid ashe lay among Roses, by a bee was stung," &c.) iswell known. The rendering by Mathurin Regniermay be added :

L'AMOUR PIQUi PAR UNE ABEILLE.Le tendre Amour cueillant un jour des fleurs,Fut, par hasard, piquo par une abeilleCach^e au fond d'une rose vermeille ;Au meme instant il s'en va tout en pleursDire k Vnus : Ma mere, je me meurs ;]e suis piquo d'une vipere ailee,Qui dans ces lieux abeille est appeloe :Je n'en puis plus, je me meurs, je me meurs.Si d'une abeille, mon fils, la piqure,Ropond Vonus, vous fait tant de douleur.Quelle douleur croyez-vous done qu'endureUn malheureux dont vous percez le coeur ?

Other renderings are by Ronsard, Baif, Olivier deMagny, and Leconte de Lisle {Poemes Antiques).


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P. no.Cowley's leisurely expansion of Ode xliii.must not be omitted, though many readers will haveit by heart :

THE GRASSHOPPER.Happy insect, what can beIn happiness compared to thee ?Fed with nourishment divine,The dewy morning's gentle wine.Nature waits upon thee still,And thy verdant cup does fill'Tis fill'd wherever thou dost tread,Nature self's thy Ganymed.Thou dost drink and dance and sing,Happier than the happiest king ;All the fields which thou dost see,All the plants belong to theeAll that summer hours produce,Fertile made with early juice.Man for thee does sow and plow,Farmer he and landlord thou.Thou dost innocently joy,Nor does thy luxury destroy :The shepherd gladly heareth thee.More harmonious than he.Thee country hinds with gladness hear,Prophet of the ripened yearThee Phoebus loves, and does inspirePhoebus is himself thy sire.


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To thee of all kings upon earth,Life is no longer than thy mirth.Happy insect, happy thouDost neither age nor winter know.But when thou'st drunk, and danced, and sungThy fill, the iiow'ry leaves among(Voluptuous, and wise withal,Epicurean animal !)Sated with thy summer feast.Thou retir'st to endless rest.

Leconte de Lisle's rendering (^Poemes Antiques) isvery happy :

Cigale, nee avec les beaux jours,Sur les verts rameaux des I'aube posee,Contente de boire un peu de rosee,Et telle qu'un roi, tu chantes toujoursInnocente a tons, paisible et sans ruses,Le gai laboureur, du chene abrite,T'ecoute de loin annoncer I'eteApollon t'honore autant que les Muses,Et Zeus t'a donne I'lmmortalite !Salut, sage enfant de la Terre antique,Dont le chant invite a clore les yeux,Et qui, sous I'ardeur du soleil Attique,N'ayant chair ni sang, vis semblable aux Dieux


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Even happier is Goethe's :

AN DIE CICADE.Selig bist du, liebe kleine,Die du auf der Baume Zweigen,Von geringem Trank begeistert,Singend, wie ein Konig lebestDir geboret eigen Alles,Was du auf den Feldern siehest,Alles, was die Stunden brihgen ;Lebest unter Ackersleuten,I lire Freundin, unbeschadigtDu den Sterblichen VerehrteSiiszen Fruhlinofs suszer BoteJa, dich lieben alle Musen,Phobus selber musz dich liebenGaben dir die Silberstimme,Dich ergreifet nie das Alter,Weise, zarte, Dichterfreundin,Ohne Fleisch und Blut Geborne,Leidenlose Erdentochter,Fast den Gottern zu vergleichen.

P. 144. Imitated by Herrick in The Vision:Methought I saw, as I did dream in bed,A crawling vine about Anacreon's head.Flushed was his face, his hairs with oil did shine,And, as he spake, his mouth ran o'er with wine, &c.


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P. 189. I have not found a good English versionof the charming poem ,, ; (whichHorace imitated in " Vitas hinnuleo me similis, Chloe"),but Ronsard's rendering may be given :

An Acre on Tea

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