1 Of the Tartessian prince my own;] He here alludes to Arganthonius, who lived, according to Lucian, an hundred and fifty years; and reigned, according to Herodotus, eighty. See Barnes.

2 This is composed of two fragments; the seventieth and eightyfirst in Barnes. They are both found in Eustathius.

3 Three fragments form this little ode, all of which are preserved in Athenæus. They are the eighty-second, seventy-fifth, and eighty-third, in Barnes.

4 And every guest, to shade his head,

Three little fragrant chaplets spread:] Longepierre, to give an idea of the luxurious estimation in which garlands were held by the ancients, relates an anecdote of a courtesan, who, in order to gratify three lovers, without leaving cause for jealousy with any of them, gave a kiss to one, let the other drink after her, and put a garland on the brow of the third: so that each was satisfied with his favour, and flattered himself with the preference.

This circumstance resembles very much the subject of one of the tensons of Savari de Mauléon, a troubadour. See L'Histoire Lit

"Horned" here, undoubtedly, seems a strange epithet; Madame Dacier however observes, that Sophocles, Callimachus, &c. have all applied it in the very same manner, and she seems to agree in the conjecture of the scholiast upon Pindar, that perhaps horns are not always peculiar to the males. I think we may with more ease conclude it to be a license of the poet, "jussit habere puellam cornus." 8 This fragment is preserved by the scholiast upon Aristophanes, and is the eighty-seventh in Barnes.

This is to be found in Hephaestion, and is the eighty-ninth of Barnes's edition.

I have omitted, from among these scraps, a very considerable fragment imputed to our poet, avôn d Eupunuan pedes, &c. which is preserved in the twelfth book of Athenæus, and is the ninety-first in Barnes. If it was really Anacreon who wrote it," nil fuit unçam de impar sibi." It is in a style of gross satire, and abounda with expressions that never could be gracefully translated.

* A fragment preserved by Dion Chrysostom. Orat. ii. de Regno. See Barnes, 93.

* This fragment, which is extant in Athenæus (Barnes, 101.), is supposed, on the authority of Chamæleon, to have been addressed to Sappho. We have also a stanza attributed to her, which some romancers have supposed to be her answer to Anacreon. "Mais par malheur (as Bayle says), Sappho vint au monde environ cent ou six Vingt ans avant Anacréon."-Nouvelles de la Rép. des Lett. tom. ii. de Novembre, 1684. The following is her fragment, the compliment of which is finely imagined; she supposes that the Muse has dictated the verses of Anacreon:

Κείνον, ο χρυσόθρονα Μουσανιστές Ύμνου, εκ της καλλιγυναικός εσθλος Τήνος χώρας όν αείδε τερπνως

Πρεσβυς αγανος.

Oh Muse! who sitt'st on golden throne,
Full many a hymn of witching tone
The Teian sage is taught by thee!
But, Goddess, from thy throne of gold,
The sweetest hymn thou'st ever told,
He lately learn'd and sung for me.

4 Formed of the 124th and 119th fragments in Barnes, both of which are to be found in Scaliger's Poetics.

De Pauw thinks that those detached lines and couplets, which Scaliger has adduced as examples in his Poetics, are by no means authentic, but of his own fabrication.

5 This is generally inserted among the remains of Alceus. Some, however, have attributed it to Anacreon. See our poet's twentysecond ode, and the notes.

ODE LXXVIII.

WHEN Cupid sees how thickly now,
The snows of Time fall o'er my brow,
Upon his wing of golden light,
He passes with an eaglet's flight,
And flitting onward seems to say,

"Fare thee well, thou'st had thy day!"

CUPID, whose lamp has lent the ray, That lights our life's meandering way, That God, within this bosom stealing, Hath waken'd a strange, mingled feeling, Which pleases, though so sadly teasing, And teases, though so sweetly pleasing!2

FROM dread Leucadia's frowning steep, I'll plunge into the whitening deep: And there lie cold, to death resign'd, Since Love intoxicates my mind!"

MIX me, child, a cup divine,
Crystal water, ruby wine:
Weave the frontlet, richly flushing,
O'er my wintry temples blushing.
Mix the brimmer-Love and I
Shall no more the contest try.
Hereupon this holy bowl,
I surrender all my soul!'

LET me resign this wretched breath,
Since now remains to me

No other balm than kindly death,
To soothe my misery!"

I KNOW thou lov'st a brimming measure,
And art a kindly, cordial host;
But let me fill and drink at pleasure-
Thus I enjoy the goblet most.*

I FEAR that love disturbs my rest,
Yet feel not love's impassion'd care;
I think there's madness in my breast,

Yet cannot find that madness there!"

1 See Barnes, 173rd. This fragment, to which I have taken the liberty of adding a turn not to be found in the original, is cited by Lucian in his short essay on the Gallic Hercules.

2 Barnes, 125th. This is in Scaliger's Poetics. Gail has omitted it in his collection of fragments.

3 This fragment is extant in Arsenius and Hephaestion. See Barnes (69th), who has arranged the metre of it very skilfully. 4 Barnes, 72nd. This fragment, which is found in Athenæus, contains an excellent lesson for the votaries of Jupiter Hospitalis. 5 Found in Hephaestion (see Barnes, 95th), and reminds one somewhat of the following:

Odi et amo; quare id faciam fortasse requiris;
Nescio: sed fieri sentio, et excrucior.

Carm. 53.

AMONG the Epigrams of the Anthologia, are found some panegyrics on Anacreon, which I had translated, and originally intended as a sort of Coronis to this work. But I found upon consideration, that they wanted variety; and that a frequent recurrence, in them, of the same thought, would render a collection of such poems uninteresting. I shall take the liberty, however, of subjoining a few, selected from the number, that I may not appear to have totally neglected those ancient tributes to the fame of Anacreon. The four epigrams which I give are imputed to Antipater Sidonius. They are rendered, perhaps, with 100 much freedom; but designing originally a translation of all that are extant on the subject, I endeavoured to enliven their uniformity by sometimes indulging in the liberties of paraphrase.

I love thee and hate thee, but if I can tell

The cause of my love and my hate, may I die.

I can feel it, alas! I can feel it too well,
That I love thee and hate thee, but cannot tell why.

6 This is also in Hephaestion, and perhaps is a fragment of some poem, in which Anacreon had commemorated the fate of Sappho It is the 123rd of Barnes.

7 Collected by Barnes, from Demetrius Phalereus and Eustathin and subjoined in his edition to the epigrams attributed to our port And here is the last of those little scattered flowers, which I thought I might venture with any grace to transplant;-happy if it coul be said of the garland which they form, To 8' 5' ArapEUNTOS,

ΑΝΤΙΠΑΤΡΟΥ ΣΙΔΩΝΙΟΥ, ΕΙΣ ΑΝΑΚΡΕΟΝΤΑ.

ΘΑΛΛΟΙ τετρακορύμβος, Ανακρεον, αμφι σε κισσος άβρα τε λειμώνων πορφυρέων πεταλα πηγαι δ' αργινόεντος αναθλίβοιντο γαλακτος, ενώδες δ' απο γης ήδυ χεοιτο μεθυ,

αφρά με το σποδίη τε και οστεα τερψιν αρηται, ει δε τις φθιμενοις χριμπτεται ευφρόσυνα, ως το φίλον στερξας, φιλε, βαρβιτον, ω συν αοιδα παντα διαπλωσας και συν ερωτι βιον.

AROUND the tomb, oh, bard divine! Where soft thy hallow'd brow reposes, Long may the deathless ivy twine,

And summer spread her waste of roses!

And there shall many a fount distil, And many a rill refresh the flowers; But wine shall be each purple rill,

And every fount be milky showers.

Thus, shade of him, whom Nature taught
To tune his lyre and soul to pleasure,
Who gave to love his tenderest thought,
Who gave to love his fondest measure,—

Thus, after death, if shades can feel,

Thou may'st from odours round thee streaming,

A pulse of past enjoyment steal,

And live again in blissful dreaming!'

1 Antipater Sidonius, the author of this epigram, lived, according to Vossius, de Poetis Græcis, in the second year of the 169th Olympiad. He appears, from what Cicero and Quintilian have said of him, to have been a kind of improvisatore. See Institut. Orat. lib. x. cap.7. There is nothing more known respecting this poet, except some particulars about his illness and death, which are mentioned as curious by Pliny and others;-and there remain of his works but a few epigrams in the Anthologia, among which are found these inscriptions pon Anacreon. These remains have been sometimes imputed to another poet of the same name, of whom Vossius gives us the following account:-" Antipater Thessalonicensis vixit tempore Augusti Cæsaris, ut qui saltantem viderit Pyladem, sicut constat ex Fuorism ejus epigrammate Ανθολογίας, lib. iv. tit. εις ορχεστρίδας, Αι eum ac Bathyllum primos fuisse pantomimos ac sub Augusto claruisse, satis notum ex Dione," &c. &c.

The reader, who thinks it worth observing, may find a strange oversight in Hoffman's quotation of this article from Vossius, Lexic. Univers. By the omission of a sentence he has made Vossius assert that the poet Antipater was one of the first pantomime dareers in Rome.

Barnes, upon the epigram before us, mentions a version of it by Brodaus, which is not to be found in that commentator; but he more than once confounds Brodeus with another annotator on the Anthologia, Vincentius Obsopeus, who has given a translation of the epigram.

* the Trian swan is laid.] Thus Horace of Pindar : Multa Dircæum levat aura cycnum.

A swan was the hieroglyphical emblem of a poet. Anacreon has been called the swan of Teos by another of his culogists.

Pleraque tamen Thessalonicensi tribuenda videntur.-Brunck, Lectiones et Emendat.

ΤΟΥ ΑΥΤΟΥ, ΕΙΣ ΤΟΝ ΑΥΤΟΝ,

ΤΥΜΒΟΣ Ανακρείοντος, ὁ Τηϊος ενθαδε κύκνος
Εύδει, χἡ παιδων ζωρότατη μανίη.
Ακμην λειριοεντι μελίζεται αμφι Βαθυλλω
Ίμερα· και κισσου λευκος οδωδε λιθος.
Ουδ' Αΐδης σοι ερωτας απέσβεσεν, εν δ' Αχεροντος
Ων, όλος ωδινεις Κυπριδι θερμότερη.

HERE sleeps Anacreon, in this ivied shade;
Here mute in death the Teian swan is laid.*
Cold, cold that heart, which while on earth it dwelt
All the sweet frenzy of love's passion felt.
And yet, oh Bard! thou art not mute in death,
Still do we catch thy lyre's luxurious breath; *
And still thy songs of soft Bathylla bloom,
Green as the ivy round thy mould'ring tomb.
Nor yet has death obscur'd thy fire of love,
For still it lights thee through the Elysian grove;
Where dreams are thine, that bless th' elect alone,
And Venus calls thee even in death her own!

Μηδε καταφθιμενος Βακχου διχα τουτον ὑποσιω Τον γενεη μερόπων χωρον οφειλόμενον.

OH stranger! if Anacreon's shell
Has ever taught thy heart to swell?
With passion's throb or pleasure's sigh,
In pity turn, as wand'ring nigh
And drop thy goblet's richest tears
In tenderest libation here!

So shall my sleeping ashes thrill
With visions of enjoyment still.
Not even in death can I resign
The festal joys that once were mine,
When Harmony pursu'd my ways,
And Bacchus wanton'd to my lays.
Oh! if delight could charm no more,
If all the goblet's bliss were o'er,
When fate had once our doom decreed,
Then dying would be death indeed;
Nor could I think, unblest by wine,
Divinity itself divine!

Has ever taught thy heart to swell, &c.] We may guess from the words « Bishan quar, that Anacreon was not merely a writer of billets-doux, as some French critics have called him. Amongst these Mr. Le Fevre, with all his professed admiration, has given our poet a character by no means of an elevated cast : —

Aussi c'est pour cela que la postérité

L'a toujours justement d'age en age chanté
Comme un franc goguenard, ami de goinfrerie,
Ami de billets-doux et de badinerie.

See the verses prefixed to his Poëtes Grecs. This is unlike the language of Theocritus, to whom Anacreon is indebted for the following simple eulogium :

ΕΙΣ ΑΝΑΚΡΕΟΝΤΟΣ ΑΝΔΡΙΑΝΤΑ.
Θάσαι τον ανδρίαντα τούτον, ω ξενε,
σπουδα, και λεγ, επαν εξ οίκον ένθης.
Ανακρέοντος εικον' είδον εν Τέω,

των προσθ' ει τι περίσσον ωδοποίων.
προσθείς δε χώτι τοις νέοισιν άδετο,
τρεις ατρεκεως όλον τον ανδρα.

UPON THE STATUE OF ANACREON.

Stranger who near this statue chance to roam,
Let it awhile your studious eyes engage;
That you may say, returning to your home,
"I've seen the image of the Teinn sage,
Best of the bards who deck the Muse's page."
Then, if you add, "That striplings lov'd him well,"
You tell them all he was, and aptly tell.

I have endeavoured to do justice to the simplicity of this inscription by rendering it as literally, I believe, as a verse translation will allow.

3 And drop thy goblet's richest tear, &c.] Thus Simonides, in another of his epitaphs on our poet :

Και μιν αει τεγγοι νότερη δρόσος, ἧς ο γεραιός
παρότερον μαλακών επνειν εκ στομάτων.

Let vines, in clust'ring beauty wreath'd,
Drop all their treasures on his head,
Whose lips a dew of sweetness breath'd,
Richer than vine hath ever shed!

4 And Bacchus wanton'd to my lays, &c.] The original here is corrupted, the line & Atorov, &c. is unintelligible.

ΤΟΥ ΑΥΤΟΥ, ΕΙΣ ΤΟΝ ΑΥΤΟΝ.

ΕΥΔΕΙΣ εν φθιμενοισιν, Ανακρέον, εσθλα πονήσας εύδει δ ̓ ἡ γλυκερη νυκτίλαλος κιθαρα, εύδει και Σμέρδις, το Ποθων εαρ, ὡ συ μελισδων, βαρβιτ', ανεκρουον νεκταρ εναρμόνιον· ηΐθεων γαρ Ερωτος έφυς σκοπος· ες δε σε μουνον τοξα τε και σκολιας ειχεν έκηβολίας.

AT length thy golden hours have wing'd their flight,
And drowsy death that eyelid steepeth;
Thy harp, that whisper'd through each lingering
night,5

Now mutely in oblivion sleepeth!

She, too, for whom that harp profusely shed
The purest nectar of its numbers,

She, the young spring of thy desires, hath fled,

And with her blest Anacreon slumbers!"

Brunck's emendation improves the sense, but I doubt if it can be commended for elegance. He reads the line thus:ὡς ὁ Διωνύσοιο λελασμένος ούποτε και μου

See Brunck, Analecta Veter. Poet. Græc. vol. ii.

5 Thy harp, that whisper'd through each lingering night, &c.] Is another of these poems," the nightly-speaking lyre" of the bard is represented as not yet silent even after his death.

ὡς ὁ φιλάκρητος τε και οινοβαρης φιλοκωμος
παννύχιος κρουσι * την φιλοπαίδα χελων,

Σιμωνίδου, εις Ανακρέονται

To beauty's smile and wine's delight,
To joys he lov'd on earth so well,
Still shall his spirit, all the night,
A ttune the wild, aerial shell!

6 The purest nectar of its numbers, &c.] Thus, says Brunck, in the prologue to the satires of Persius:

Cantare credas Pegascium nectar.

"Melos" is the usual reading in this line, and Casaubon has defended it; but "nectar " is, I think, much more spirited.

She, the young spring of thy desires, &c.] The original, ro Hlodav cap, is beautiful. We regret that such praise should be lavished so preposterously, and feel that the poet's mistress Eurypyle would have deserved it better. Her name has been told us by Meleager, as already quoted, and in another epigram by Antipater.

έγρα δε δερκομένοισιν εν ομμασιν ουλου είδους,
αιθυσσών λιπαρής ανθος ύπερθε κόμης,

της προς Ευρυπυλην τετραμμένος

Long may the nymph around thee play.
Eurypyle, thy soul's desire,

Basking her beauties in the ray

That lights thine eye's dissolving fire !

Sing of her smile's bewitching power,

Her every grace that warms and blesses;
Sing of her brow's luxuriant flower,

The beaming glory of her tresses.

The expression here, avdog counc, "the flower of the hair," is bor rowed from Anacreon himself, as appears by a fragment of the poet preserved in Stobæus: Απέκειρας δ' ἀπαλης αμόμον ανδος,

Brunck has xpovwv; but xpoves, the common reading, better suits a detached quotation.