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congenial, both in warmth of passion and delicacy of genius, gives such play to the imagination, that the mind loves to indulge in it. But the vision dissolves before historical truth; and Chamæleon and Hermesianax, who are the source of the supposition, are considered as having merely indulged in a poetical anachronism.'

our estimate which religion, at that time, not only connived at, but consecrated, we shall be inclined to say that the disposition of our poet was amiable; that his morality was relaxed, but not abandoned; and that Virtue, with her zone loosened, may be an apt emblem of the character of Anacreon.

Of his person and physiognomy time has preTo infer the moral dispositions of a poet from served such uncertain memorials, that it were the tone of sentiment which pervades his works, is better, perhaps, to leave the pencil to fancy; and sometimes a very fallacious analogy; but the soul few can read the Odes of Anacreon without ci Anacreon speaks so unequivocally through his imagining to themselves the form of the animated odes, that we may safely consult them as the faith-old bard, crowned with roses, and singing cheerfal mirrors of his heart. We find him there the elegant voluptuary, diffusing the seductive charm of sentiment over passions and propensities at which rigid morality must frown. His heart, devoted to indolence, seems to have thought that there is wealth enough in happiness, but seldom happiness in mere wealth. The cheerfulness, ined, with which he brightens his old age is Interesting and endearing: like his own rose, he is fragrant even in decay. But the most peculiar feature of his mind is that love of simplicity, which be attributes to himself so feelingly, and which breathes characteristically throughout all that he has sung. In truth, if we omit those few vices in

fully to his lyre. But the head of Anacreon, prefixed to this work', has been considered so authentic, that we scarcely could be justified in the omission of it; and some have even thought that it is by no means deficient in that benevolent suavity of expression which should characterise the countenance of such a poet.

! Barnes is convinced (but very gratuitously) of the synchronism Anacreon and Sappho. In citing his authorities, he has rly neglected the line quoted by Fulvius Ursinus, as from Aracreon, among the testimonies to Sappho :

Είμε λαβον εισαρας Σαπφω παρθενον ἄδύφωνον. Tabrizing thinks that they might have been contemporary, but aders their amour as a tale of imagination. Vossius rejects the tirely; as do also Olaus Borrichius and others.

An Italian poet, in some verses on Belleau's translation of Acres, pretends to imagine that our bard did not feel as he

Lyrum, Venerem, Cupidinemque

Senex lusit Anacreon poeta.
Sed quo tempore nec capaciores
Rogabat cyathos, nec inquietis
Trebatur amoribus, sed ipsis
Tantum versibus et jocis amabat,
Nullum præ se habitum gerens amantis.
To Love and Bacchus ever young

While sage Anacreon touch'd the lyre,
He neither felt the loves he sung.

Nor fill'd his bowl to Bacchus higher.
Those flowery days had faded long,

When youth could act the lover's part;
And passion trembled in his song,

But never, never, reach'd his heart.

* Anacreon's character has been variously coloured. Barnes vers on it with enthusiastic admiration; but he is always extraTaat, if not sometimes also a little profane. Baillet runs too into the opposite extreme, exaggerating also the testimonies ich be has consulted; and we cannot surely agree with him won he cites such a compiler as Athenæus, as "un des plus a critiques de l'antiquité."-Jugement des Sçavans, M. CV. Bames could hardly have read the passage to which he refers, When he scruises Le Fevre of having censured our poet's character Sasote on Longinus; the note in question being manifest irony, turn to some censure passed upon Le Fevre for his Anacreon. I

clear. Indeed, that praise rather than censure is intimated. See Johannes Vulpius (de Utilitate Poëtices), who vindicates our

potreptation.

*It is taken from the Bibliotheca of Fulvius Ursinus. Bellori hased the same head into his Imagines. Johannes Faber, in La description of the coin of Ursinus, mentions another head on a

After the very enthusiastic eulogiums bestowed both by ancients and moderns upon the poems of Anacreon, we need not be diffident in expressing our raptures at their beauty, nor hesitate to pronounce them the most polished remains of antiquity. They are, indeed, all beauty, all enchantment." He steals us so insensibly along with him,

very beautiful cornelian, which he supposes was worn in a ring by some admirer of the poet. In the Iconographia of Canini there is a youthful head of Anacreon from a Grecian medal, with the letters TEIO around it; on the reverse there is a Neptune, holding a spear in his right hand, and a dolphin, with the word TIANON inscribed, in the left; "volendoci denotare (says Canini) che quelle cittadini la coniassero in honore del suo compatriota poeta." There is also among the coins of De Wilde one, which, though it bears no effigy, was probably struck to the memory of Anacreon. It has the word THION, encircled with an ivy crown. "At quidni respicit hæc corona Anacreontem, nobilem lyricum?"- De Wilde. 5 Besides those which are extant, he wrote hymns, elegies, epigrams, &c. Some of the epigrams still exist. Horace, in addition to the mention of him (lib. iv. od. 9.), alludes also to a poem of his upon the rivalry of Circe and Penelope in the affections of Ulysses, lib. i. od. 17. ; and the scholiast upon Nicander cites a fragment from a poem upon Sleep by Anacreon, and attributes to him likewise a medicinal treatise. Fulgentius mentions a work of his upon the war between Jupiter and the Titans, and the origin of the consecration of the eagle.

6 See Horace, Maximus Tyrius, &c. "His style (says Scaliger) is sweeter than the juice of the Indian reed."-- Port. lib. i. cap. 44.. "From the softness of his verses (says Olaus Borrichius) the ancients bestowed on him the epithets sweet, delicate, graceful." &c. Dissertationes Academica, de Poetis, diss. 2. Scaliger again praises him thus in a pun; speaking of the loc, or ode," Anacreon autem non solum dedit hæc en sed etiam in ipsis mella." See the passage of Rapin, quoted by all the editors. I cannot omit citing also the following very spirited apostrophe of the author of the Commentary prefixed to the Parma edition: "O vos sublimes animæ, vos Apollinis alumni, qui post unum Alemanem in tota Hellade lyricam poesim exsuscitastis, coluistis, amplificastis. quæso vos an ullus unquam fuerit vates qui Teio cantori vel naturæ candore vel metri, suavitate palmam præripuerit." See likewise Vincenzo Gravini della Rag. Poetic. libro primo, p. 97. Among the Ritratti of Marino, there is one of Anacreon beginning "Cingetemi la fronte," &c. &c.

"We may perceive," says Vossius, "that the iteration of his words conduces very much to the sweetness of his style." Henry Stephen remarks the same beauty in a note on the forty-fourth ode. This figure of iteration is his most appropriate grace :- but the modern writers of Juvenilia and Basia have adopted it to an excess which destroys the effect.

that we sympathise even in his excesses. In his amatory odes there is a delicacy of compliment not to be found in any other ancient poet. Love at that period was rather an unrefined emotion : and the intercourse of the sexes was animated more by passion than by sentiment. They knew not those little tendernesses which form the spiritual part of affection; their expression of feeling was therefore rude and unvaried, and the poetry of love deprived it of its most captivating graces. Anacreon, however, attained some ideas of this purer gallantry; and the same delicacy of mind which led him to this refinement, prevented him also from yielding to the freedom of language, which has sullied the pages of all the other poets. His descriptions are warm; but the warmth is in the ideas, not the words. He is sportive without being wanton, and ardent without being licentious. His poetic invention is always most brilliantly displayed in those allegorical fictions which so many have endeavoured to imitate, though all have confessed them to be inimitable. Simplicity is the distinguishing feature of these odes, and they interest by their innocence, as much as they fascinate by their beauty. They may be said, indeed, to be the very infants of the Muses, and to lisp in numbers.

I shall not be accused of enthusiastic partiality by those who have read and felt the original; but, to others, I am conscious, this should not be the language of a translator, whose faint reflection of such beauties can but ill justify his admiration of them.

In the age of Anacreon music and poetry were inseparable. These kindred talents were for a long time associated, and the poet always sung his own compositions to the lyre. It is probable that they were not set to any regular air, but rather a kind of musical recitation, which was varied according to the fancy and feelings of the moment.' The poems of Anacreon were sung at banquets as late as the time of Aulus Gellius, who tells us that he heard one of the odes performed at a birth-day entertainment.2

The singular beauty of our poet's style, and the

1 In the Paris edition there are four of the original odes set to music, by Le Sueur, Gossec, Mehul, and Cherubini. "On chante du Latin, et de l'Italien," says Gail, " quelquefois même sans les entendre qui empêche que nous ne chantions des odes Grecques!" The chromatic learning of these composers is very unlike what we are told of the simple melody of the ancients; and they have all, as it appears to me, mistaken the accentuation of the words.

2 The Parma commentator is rather careless in referring to this passage of Aulus Gellius (lib. xix. cap. 9.). The ode was not sung by the rhetorician Julianus, as he says, but by the minstrels of both sexes, who were introduced at the entertainment.

3 See what Colomesius, in his "Literary Treasures," has quoted from Alcyonius de Exilio; it may be found in Baxter. Colomesius, after citing the passage, adds, "Hæc auro contra cara non potui non apponere."

4 We may perceive by the beginning of the first hymn of Bishop Synesius, that he made Anacreon and Sappho his models of composition.

apparent facility, perhaps, of his metre have attracted, as I have already remarked, a crowd of imitators. Some of these have succeeded with wonderful felicity, as may be discerned in the few odes which are attributed to writers of a later period. But none of his emulators have been hal so dangerous to his fame as those Greek ecclesiastics of the early ages, who, being conscious of their own inferiority to their great prototypes determined on removing all possibility of com parison, and, under a semblance of moral zeal deprived the world of some of the most exquisite treasures of ancient times. The works of Sappho and Alcæus were among those flowers of Grecia literature which thus fell beneath the rude hand o ecclesiastical presumption. It is true they pre tended that this sacrifice of genius was hallowed by the interest of religion; but I have already assigned the most probable motive'; and if Gre gorius Nazianzenus had not written Anacreontics we might now perhaps have the works of th Teian unmutilated, and be empowered to s exultingly with Horace,

Nee si quid olim lusit Anacreon Delevit ætas.

The zeal by which these bishops professed to be actuated, gave birth more innocently, indeed, t an absurd species of parody, as repugnant to piety as it is to taste, where the poet of voluptuousnes was made a preacher of the gospel, and his muse like the Venus in armour at Lacedæmon, wa arrayed in all the severities of priestly instruction Such was the "Anacreon Recantatus," by Carol de Aquino, a Jesuit, published 1701, which con sisted of a series of palinodes to the several song of our poet. Such, too, was the Christian Ana creon of Patriganus, another Jesuit, who prepos terously transferred to a most sacred subject a that the Grecian poet had dedicated to festivity and love.

His metre has frequently been adopted by the modern Latin poets; and Scaliger, Taubman Barthius, and others, have shown that it is by n means uncongenial with that language. Th

Margunius and Anacreontics.

Αγε μοι, λίγεια φορμεγέ Mera Thiar andar, Μετά λεσβιαν τε μολπάν

Damascenus were likewise authors of pics

5 This, perhaps, is the "Jesuita quidam Græculus" alluded t by Barnes, who has himself composed an Avape as absurd as the rest, but somewhat more skilfully executed.

6 I have seen somewhere an account of the MSS, of Barthin written just after his death, which mentions many more Anacrt ontics of his than I believe have ever been published.

7 Thus too Albertus, a Danish poet :

Fidii tui minister
Gaudebo semper esse,
Gaudebo semper illi
Litare thure mulso;

Gaudebo semper illum

Anacreontics of Scaliger, however, scarcely deserve the name; as they glitter all over with aceits, and, though often elegant, are always laboured. The beautiful fictions of Angerianus preserve more happily than any others the delicate turn of those allegorical fables, which, passing so frequently through the mediums of version and imitation, have generally lost their finest rays in the transmission. Many of the Italian poets have indulged their fancies upon the subjects, and in the manner of Anacreon. Bernardo Tasso first introduced the metre, which was afterwards polished and enriched by Chabriera and others.2

To judge by the references of Degen, the German language abounds in Anacreontic imitations; and Hagedorn is one among many who have assumed him as a model. La Farre, Chaulieu, and the other light poets of France, have also professed to cultivate the muse of Téos; but they have attained all her negligence with little of the simple grace that embellishes it. In the delicate bard of Schiras' we find the kindred spirit of Anacreon: some of his gazelles, or songs, possess all the cha!racter of our poet.

We come now to a retrospect of the editions of Anacreon. To Henry Stephen we are indebted for having first recovered his remains from the ofcurity in which, so singularly, they had for many ages reposed. He found the seventh ode, as we are told, on the cover of an old book, and mmunicated it to Victorius, who mentions the circumstance in his "Various Readings." Stephen was then very young; and this discovery was easidered by some critics of that day as a literary imposition. In 1554, however, he gave Anacreon to the world, accompanied with annotations and a Latin version of the greater part of the odes. The learned still hesitated to receive them as the relics of the Teian bard, and suspected them to be the fabrication of some monks of the sixteenth century. This was an idea from which the classic muse recoiled; and the Vatican manuscript, con

Laudare pumilillis Anacreonticillis.

See the Danish Poets collected by Rostgaard. These pretty littlenesses defy translation. A beautiful Anacrente by Hugo Grotius, may be found Lib. i. Farraginis.

1 To Angerianus Prior is indebted for some of his happiest mygical subjects.

7 See Crescimbeni, Historia della Volg. Poes.

"L'aimable Hagedorn vaut quelquefois Anacréon."— Dorat, Ide la Porsie Allemande.

4 Sex Toderini on the learning of the Turks, as translated by de Cemard. Prince Cantemir has made the Russians acquainted * Anacreon. See his Life, prefixed to a translation of his acres, by the Abbé de Guasco.

Robortellus, in his work "De Ratione corrigendi," pronounces these verses to be the triflings of some insipid Græcist.

• Bonsard commemorates this event:

Je vay boire à Henrie Etienne

Qui des enfers nous a rendu,

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sulted by Scaliger and Salmasius, confirmed the antiquity of most of the poems. A very inaccurate copy of this MS. was taken by Isaac Vossius, and this is the authority which Barnes has followed in his collation. Accordingly he misrepresents almost as often as he quotes; and the subsequent editors, relying upon his authority, have spoken of the manuscript with not less confidence than ignorance. The literary world, however, has at length been gratified with this curious memorial of the poet, by the industry of the Abbé Spaletti, who published at Rome, in 1781, a facsimile of those pages of the Vatican manuscript which contained the odes of Anacreon.'

A catalogue has been given by Gail of all the different editions and translations of Anacreon. Finding their number to be much greater than I could possibly have had an opportunity of consulting, I shall here content myself with enumerating only those editions and versions which it has been in my power to collect; and which, though very few, are, I believe, the most important.

The edition by Henry Stephen, 1554, at Paris the Latin version is attributed by Colomesius to John Dorat."

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The old French translations, by Ronsard and Belleau- the former published in 1555, the latter in 1556. It appears from a note of Muretus upon one of the sonnets of Ronsard, that Henry Stephen communicated to this poet his manuscript of Anacreon, before he promulgated it to the world." The edition by Le Fevre, 1660.

The edition by Madame Dacier, 1681, with a prose translation.

The edition by Longepierre, 1684, with a translation in verse.

The edition by Baxter; London, 1695. A French translation by la Fosse, 1704 "L'Histoire des Odes d'Anacreon," by Gaçon ; Rotterdam, 1712.

A translation in English verse by several hands, 1713, in which the odes by Cowley are inserted.

I fill the bowl to Stephen's name.
Who rescued from the gloom of night
The Teian bard of festive fame,

And brought his living lyre to light.

7 This manuscript, which Spaletti thinks as old as the tenth century, was brought from the Palatine into the Vatican library; it is a kind of anthology of Greek epigrams, and in the 676th page of it are found the 'Ηαμίμπια Συμποσιακά of Anacreon.

"Le même (M. Vossius) m'a dit qu'il avoit possédé un Anacréon, où Scaliger avoit marqué de sa main, qu'Henri Etienne n'étoit pas l'auteur de la version Latine des odes de ce poëte, mais Jean Dorat."- Paulus Colomesius, Particularités.

Colomesius, however, seems to have relied too implicitly on Vossius-almost all these Particularités begin with "M. Vossius m'a dit."

9"La fiction de ce sonnet, comme l'auteur même m'a dit, est prise d'une ode d'Anacréon, encore non imprimée, qu'il a depuis traduit, Συ μεν φίλη χελίδων,

10 The author of Nouvelles de la Répub. des Lett, bestows on this translation much more praise than its merits appear to me to justify.

The edition by Barnes; London, 1721. The edition by Dr. Trapp, 1733, with a Latin version in elegiac metre.

A translation in English verse, by John Addison, 1735.

A collection of Italian translations of Anacreon, published at Venice, 1736, consisting of those by Corsini, Regnier', Salvini, Marchetti, and one by several anonymous authors.

A translation in English verse, by Fawkes and Doctor Broome, 1760.3

Another, anonymous, 1768.

The edition by Spaletti, at Rome, 1781; with the fac-simile of the Vatican MS.

The edition by Degen, 1786, who published also a German translation of Anacreon, esteemed the best.

A translation in English verse, by Urquhart,

1787.

The edition by Gail, at Paris, 1799, with a prose translation.

His tresses wore a silvery dye,
But beauty sparkled in his eye;
Sparkled in his eyes of fire,
Through the mist of soft desire.'
His lip exhal'd, whene'er he sigh'd,
The fragrance of the racy tide;
And, as with weak and reeling feet
He came my cordial kiss to meet,
An infant, of the Cyprian band,
Guided him on with tender hand.
Quick from his glowing brows he drew
His braid, of many a wanton hue;

I took the wreath, whose inmost twine
Breath'd of him and blush'd with wine."
I hung it o'er my thoughtless brow
And ah! I feel its magic now:"

I feel that even his garland's touch
Can make the bosom love too much.

ODES OF ANACREON.

ODE I.

I SAW the smiling bard of pleasure,
The minstrel of the Teian measure;
"T was in a vision of the night,
He beam'd upon my wondering sight.
I heard his voice, and warmly prest
The dear enthusiast to my breast.

1 The notes of Regnier are not inserted in this edition: but they must be interesting, as they were for the most part communicated by the ingenious Menage, who, we may perceive, from a passage in the Menagiana, bestowed some research on the subject. "C'est aussi lui (M. Bigot) qui s'est donné la peine de conférer des manuscrits en Italie dans le tems que je travaillois sur Anacréon.”— Menagiana, seconde partie.

2 I find in Haym's Notizia de' Libri rari, Venice, 1670, an Italian translation by Cappone, mentioned.

3 This is the most complete of the English translations.

4 This ode is the first of the series in the Vatican manuscript, which attributes it to no other poet than Anacreon. They who assert that the manuscript imputes it to Basilius, have been misled by the words Tou autou Bagio in the margin, which are merely intended as a title to the following ode. Whether it be the production of Anacreon or not, it has all the features of ancient simplicity, and is a beautiful imitation of the poet's happiest

manner.

5 Sparkled in his eyes of fire,

Through the mist of soft desire.] "How could he know at the first look (says Baxter) that the poet was pleurog?" There are surely many tell-tales of this propensity; and the following are the indices, which the physiognomist gives, describing a disposition perhaps not unlike that of Anacreon : Οφθαλμοι κλυζόμενος, κυμαι νοντες ἐν αὐτοῖς, τις αφροδίσια και ευπαθείαν επτάηνται ούτε δε αδικοι, ούτε κακούργοι, ούτε φύσεως φαύλης, ούτε άμουσος Adamantius. The eyes that are humid and fluctuating show a propensity to pleasure and love; they bespeak too a mind of integrity and beneficence, a generosity of disposition, and a genius for poetry."

Baptista Porta tells us some strange opinions of the ancient

ODE II.

GIVE me the harp of epic song,
Which Homer's finger thrill'd along;
But tear away the sanguine string,
For war is not the theme I sing.
Proclaim the laws of festal rite,"
I'm monarch of the board to-night;
And all around shall brim as high,
And quaff the tide as deep as I.
And when the cluster's mellowing dews
Their warm enchanting balm infuse,
Our feet shall catch the' elastic bound,
And reel us through the dance's round.

physiognomists on this subject, their reasons for which we curious, and perhaps not altogether fanciful. Vide Physiognom Johan. Baptist. Porta.

6 I took the wreath, whose inmost tuine

Breath'd of him, &c.] Philostratus has the same thought i one of his Eprika, where he speaks of the garland which he ba sent to his mistress. Ει δε βούλει τι φιλω χαρίζεσθαι, τις λουριάς αντιπέμψον, μηκετι πνέοντα ῥόδων μόνον αλλά και σου. "If thou inclined to gratify thy lover, send him back the remains of th garland, no longer breathing of roses only, but of thee!" Whic pretty conceit is borrowed (as the author of the Observer remarka in a well-known little song of Ben Jonson's :-

"But thou thereon didst only breathe
And sent it back to me;

Since when it looks and smells, I swear,

Not of itself, but thee !"

And ah! I feel its magic now:] This idea, as Longepiert remarks, occurs in an epigram of the seventh book of the Art logia.

Έξοτε μοι πινοντι συνεσταουσα Χαρικλώ
Λαθρη τους ίδιους αμφέβαλε στεφανους,

Πυρ ολοον δαπτει με

While I unconscious quaff'd my wine,
'Twas then thy fingers slily stole
Upon my brow that wreath of thine,

Which since has madden'd all my soul.

9 Proclaim the laws of festal rite.] The ancients prescribe certain laws of drinking at their festivals, for an account of wh see the commentators. Anacreon here acts the symposiarch. 3 master of the festival. I have translated according to those wh consider κυπελλα θεσμών as an inversion of θεσμούς κυπελλων.

Great Bacchus! we shall sing to thee,
In wild but sweet ebriety;

Flashing around such sparks of thought,
As Bacchus could alone have taught.

Then, give the harp of epic song, Which Homer's finger thrill'd along; But tear away the sanguine string, For war is not the theme I sing.

ODE III.'

LISTEN to the Muse's lyre,
Master of the pencil's fire!
Sketch'd in painting's bold display,
Many a city first portray;
Many a city, revelling free,
Full of loose festivity.
Picture then a rosy train,
Bacchants straying o'er the plain;
Piping, as they roam along,
Roundelay or shepherd-song.
Paint me next, if painting may
Such a theme as this portray,
All the earthly heaven of love
These delighted mortals prove.

ODE IV.2

VULCAN! hear your glorious task;
I do not from your labours ask
In gorgeous panoply to shine,
For war was ne'er a sport of mine.
No-let me have a silver bowl,
Where I may cradle all my soul;
But mind that, o'er its simple frame
No mimic constellations flame;

La Fosse has thought proper to lengthen this poem by conderable interpolations of his own, which he thinks are indispennecessary to the completion of the description.

This ode, Aulus Gellius tells us, was performed at an entertainment where he was present.

↑ While many a rose-lipp'd bacchant maid, &c.] I have availed ed here of the additional lines given in the Vatican manuwhich have not been accurately inserted in any of the Gary editions:

Ποίησον αμπελους μου Kai Borρuaç Kar' abTwv Και μαινάδας τρυγώσας. Ποιεί δε ληνού οίνου, Απρόβατας πατούντας, Τους σατύρους γελώντας,

Και χρύσους τους ερωτάς, Και Κυθέρην γελώσαν, Onor rata Avaico,

Έρωτα και Αφροδίτην.

Degen thinks that this ode is a more modern imitation of the

Nor grave upon the swelling side,
Orion, scowling o'er the tide.
I care not for the glitt'ring wain,
Nor yet the weeping sister train.
But let the vine luxuriant roll

Its blushing tendrils round the bowl,
While many a rose-lipp'd bacchant maid'
Is culling clusters in their shade.
Let sylvan gods, in antic shapes,
Wildly press the gushing grapes,
And flights of Loves, in wanton play,
Wing through the air their winding way;
While Venus from her harbour green,
Looks laughing at the joyous scene,
And young Lyæus by her side
Sits, worthy of so bright a bride.

ODE V.A

SCULPTOR, would'st thou glad my soul, Grave for me an ample bowl,

Worthy to shine in hall or bower,

When spring-time brings the reveller's hour.
Grave it with themes of chaste design,
Fit for a simple board like mine.
Display not there the barbarous rites
In which religious zeal delights;
Nor any tale of tragic fate
Which History shudders to relate.
No-cull thy fancies from above,
Themes of heav'n and themes of love.
Let Bacchus, Jove's ambrosial boy,
Distil the grape in drops of joy,
And while he smiles at every tear,
Let warm-ey'd Venus, dancing near,
With spirits of the genial bed,
The dewy herbage deftly tread.
Let Love be there, without his arms,"
In timid nakedness of charms;

And all the Graces, link'd with Love,
Stray, laughing, through the shadowy grove;

preceding. There is a poem by Cælius Calcagninus, in the manner of both, where he gives instructions about the making of a ring.

Tornabis annulum mihi

Et fabre, et apte, et commode, &c. &c.

5 Let Love be there, without his arms, &c.] Thus Sannazaro in the eclogue of Gallicio nell' Arcadia :

Vegnan li vaghi Amori
Senza fiammelle, strali,

Scherzando insieme pargoletti e nudi.
Fluttering on the busy wing,

A train of naked Cupids came,
Sporting around in harmless ring,
Without a dart, without a flame.

And thus in the Pervigilium Veneris :

Ite nymphæ, posuit arma, feriatus est amor.
Love is disarm'd-ye nymphs, in safety stray,
Your bosoms now may boast a holiday!

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