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About Google Book Search Google’s mission is to organize the world’s information and to make it universally accessible and useful. Google Book Search helps readers discover the world’s books while helping authors and publishers reach new audiences. You can search through the full text of this book on the web ai[http: //books . google. com/| B 1,362,354 ANACREON. One thousand Copies printed for England and America. No. tiara. 4 ANAC REON : witn THomas STANLEY’S TRANSLATION. EDITED | BY A. H. BULLEN. ILLUSTRATED BY J. R. WEGUELIN. LONDON : LAWRENCE @& BULLEN 16 HENRIETTA STREET, COVENT GARDEN MDCCCXCIIL LONDON : HENDERSON & SPALDING, LIMITED, GENERAL PRINTERS, 3 AND 5, MARYLEBONE LANE, W. INTRODUCTION. Henri ΕΒΤΙΕΝΝΕ in 1554 published in Paris a small quarto (in the beautiful Greek type modelled on the handwriting of Angelus Vergetius of Candia, and cut by Claude Garamond), entitled "Avaxpéovros Triov μέλη. Anacreontis Tew ode. Ab Henrico Stephano luce ὦ" Latinitate nunc primim donate. Lutetia. Apud flenricum Stephanum. MDLITIT, Ex Privilegio Regis. In the Greek preface Estienne is jubilant over the recovery of the lost poet. He quotes with gusto the verse of Archilochus ΣΧρημάτων ἄελπτον οὐδέν ἐστιν οὐδ᾽ ἀπώμοτον. It was supposed that Anacreon had been irrevocably doomed; and now, breaking the adamantine fetters that had held him so long, ἀποσφάξας dé τοὺς μυριωποὺς φύλακας Up ὧν καθείργετο, he had emerged from captivity. Cold critics may sneer at Estienne’s enthusiasm; but the publication of the edztzo princeps of the Anacreontea was not the least of the many services rendered to letters by the devoted x Introduction. scholar-printer. Following the example of Ronsard, let us fill a bowl, and drink it up, to his memory :— “Je vay boire ἃ Henry Estienne Qui des enfers nous a rendu Du vieil Anacréon perdu La douce lyre teienne.” Ronsard had seen the poems in MS. before publica- tion. In the 1553 edition of his Amours, p. 6, isa sonnet beginning ‘Ces liens d’or, cette bouche vermeille,” which was inspired by the Anacreontic Σὺ μὲν φίλη χελιδών. Muretus, in his annotations to this sonnet, writes—‘‘ La fiction de ce Sonet, comme auteur mesme m/’a dit, est prise d'une Ode d’Anacréon encore non imprimée.” Later, in the fifth book of his Odes, Ronsard gave a free rendering of the entire poem; and at various times he turned nearly a score of the Axacreontea into French verse. | The influence exercised on the poets of the Pleiad school by Estienne’s discovery was indeed considerable. In 1555 Remi Belleau published a (nearly) complete translation, graceful and faithful. Olivier de Magny and Baif rendered various odes with more or less deftness. In France the Anacreontea still keep their popularity. One of the most delightful French poets — 7 - ond Introduction. x1 of our own time, Leconte de Lisle, has presented us (in Poémes Antiques) with a group of charming Anacreontic translations. The first English poet who sought inspiration from the Anacreontea was Robert Greene, who in Orpharton (1589) has an excellent rendering—‘“ Cupid abroad was lated in the night”—of Μεσονυκτίοις ποθ᾽ ὥραις. Appended to Spenser’s Amorettz (1595) is a copy of verses, “ 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.,” whose contributions to Davison’s Poetzcal Rhapsody (1602) include a translation of the first three Odes.’ In Bateson’s Second Book of Madrigals (1618) the conceit of Cupid and the Bee is very pleasantly handled. Robert Herrick was saturated with the Anacreontea: of some Odes he has fairly literal translations, others he paraphrased, others supplied him with hints and suggestions. In 1651 Thomas Stanley published a (nearly) complete translation of the Odes; and this translation has been reprinted in the present volume. Stanley (born about 1625), a son of Sir Thomas _ Stanley of Leightonstone, Essex, and Cumberlow, Hertfordshire, Kt., was a refined scholar, and a man 1 “A, W.”’s translations of these three Odes were extant as early as 1596. See my edition of the Rhapsody. w Mm, i ω Xii Introduction. of letters to the finger-tips. His early studies were directed by Thomas Fairfax, son of the translator of Tasso. At the age of thirteen, he became a gentle- man commoner of Pembroke Hall, Cambridge; he graduated at his own university, and was incorporated M.A. at Oxford; he went on his travels, and returned —in the midst of the strife of Civil \War—to the seclusion of the Middle Temple,’ where he passed his time in preparing an edition of A‘schylus, which is yet esteemed for the multifarious learning displayed in the notes, in composing amatory verses which were set to music by John Gamble, in writing a History of Philosophy after the manner of Diogenes Laertius, and in translating the Anacreontea.* He died at his 1 At an early age Stanley married Dorothy, daughter and co-heir of Sir James Enyon, of Flower, in Northamptonshire, Bart. The writer of the Zs/e before the 1743 edition of the History of Philosophy remarks :—‘ This Alteration in his State and Condition of Life did not in the least change his Temper and Disposition, or abate his Affection to Learning, which was no less vigorous now than before. Neither the Cares nor Concerns for his Family, nor the Caresses and Endearments of a Young Wife could prevail with him to intermit his ordinary studies on which he was obstinately bent.” Stanley left several volumes of MS. notes on the classics. The author of A Short Account of Dr. Bentley's Humanity and Justice to those Authors who have written before him, 1699, accuses Bentley of having used Stanley’s notes on Callimachus without acknowledg- ment. 2Not only was Stanley a good classical scholar, but he had an excellent knowledge of the French, Spanish, and Italian poets. Introduction. ΧΕΙ lodgings in Suffolk Street, on 12th April, 1678. In the rendering of particular Odes Stanley has been excelled by “A. W.” and Cowley; but, regarded as a whole, his translation is a very agreeable and very satisfactory piece of work. Cowley’s paraphrases are in his happiest vein. It cannot be said that his numbers had always a limpid flow ; few poets indeed have been more crabbed and tortuous. But in these Anacreontics he sings with “full-throated ease”; dallying playfully with his subject, adding idle verse to idle verse, losing himself in a maze of delicious reverie. Very diffuse is the rendering (“ Underneath this myrtle shade”) of ᾿Επὶ μυρσίναις τερείναις, but who would grow weary of crooning it over? In the Oxford varzorum translation (1683) Cowley’s renderings are conspicuously the best. Gladly would we exchange reams of his Pindarics for one such Anacreontic as “ The Grasshopper”! Rochester, in ‘““The Cup,” successfully reproduced the spirit of Tov ἄργυρον τορεύων (p. 42); Matthew Prior's “Cupid turned Stroller” is among the best of the many versions of Μεσονυκτίοις ποθ᾽ ὥραις; and a word of qualified praise may be given to the attempts of Oldmixon and Ambrose Philips. In the eighteenth century the translations of John Addison, Thomas Fawkes, &c., were highly esteemed, but it must be XIV Introduction. confessed that they are dull, uninspired, mechanical performances. Nor can I find much to admire in Thomas Moore's flashy renderings, which passed through so many editions in the early years of the present century and still enjoy a certain measure of popular favour. In 1800, when the first edition appeared, there was little poetry in the air, and Moore © was very young. Had he taken the task in hand a few years later, he would have done more justice to the original and to himself; but he could never have rivalled Stanley’s finished elegance. The introductory essay and the copious footnotes are the most attractive part of Moore’s book. Byron’s youthful essays in Flours of Idleness call for no comment. Since the ‘days of Byron and Moore, our English poets—poets in a genuine sense, not mere versifiers—have left Anacreon severely alone. Fluttering from end to end of Europe, the airy Anacreontea have learned the languages of Spain, Italy, Germany, Holland, Sweden, Poland, Russia. Among the many poets who have translated the charming Ode to the Grasshopper the most famous was Goethe. It must be frankly conceded that, in spite of the wide popularity they have won, the Axacreontea are not of the first order of poetry. The best pieces— 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 (late compositions of frigid grammarians) are inept and futile. Nosensible critic is likely to endorse credulous Joshua Barnes’ judgment—that all antiquity has produced nothing finer than To ῥόδον τὸ τῶν ᾿Εἰρώτων (p. 12). | Scholars are, of course, agreed to-day that the Anacreontea are not the work of the genuine Anacreon. Even at the time of their original publication the general chorus of praise was dis- turbed by some dissentient voices. Robortello! in 1557 (De Ratione Corrig.) roundly asserted that the whole collection was a fraud, But his animus against Estienne carried him too far. Some of the poems are probably as late as the eight or the ninth century of the Christian era; but there are no modern fabrications. The manner in which Estienne issued the collection excited suspicion. To his edition of Dionysius Halicarnassensis Πρὸς Γναῖον Πομπήϊον ἐπιστολή, 1554, he prefixed a letter to Piero Vettori, wherein he 1“ Primus quidem exstitit Robortellus, vir vere criticus, qui in libro de ratione corrig. p. 26 ed. Patav. 1557 ubi Stephani incuriam in manuscriptis tractandis vituperat, hec omnia carmina nihil nisi insulsos quosdam posterioris vi lusus esse professus est.”—STARK, Questiones Anacreontica (1846). Xvi Introduction. made the following announcement of his forthcoming Anacreon :—‘‘ Hec igitur, mi Victori, nunc accipe, dum me ad Anacreontis Teii editionem comparo: cujus tu quidem certe poesin una ex oda, vel potius ex odario uno, quod a me acceperas (ut ille olim ex ungue leonem) ezstimasti: quantum vero ea in re judicio valueris tum demum facile intelliges quum corpus totum protulero. Proferam autem, ut spero, propediem: et jam protulissem nisi me vana spes tenuisset fore ut ad duo ejus exemplaria, que diversis in locis non sine immenso labore invenire mihi contigit, tertium accederet. Nam ex duobus his alterum in membranis, alterum in cortice arboris scriptum erat: illud confusum et alicubi non satis emendatum : hoc adeo antiquum ut in singulis verbis litera aliqua oculos fugeret, ut taceam adeo diversam fuisse elementorum formam a nostris ut prius an posset legi cogitandum fuerit quam an posset intelligi. Nec tamen interim sum passus in meis manibus ut sine luce ita sine fructu tanto tempore versari; ex uno enim Anacreonte tres feci: ut jam non Grecus tantum sed Latinus etiam et Gallicus proditurus sit hic poeta: idque eo feci ut etiam a lingue Greece rudibus aliquam gratiam inirem.” The MS. “in cortice arboris scriptum” is generally regarded as mythical. But the parchment MS., which Estienne ae — —- -- Introduction. XVI carefully concealed from the scholars of his age, now reposes in the Bibliothéque Nationale at Paris. The strange eventful history of this MS. is carefully traced in the preface to Valentin Rose’s edition of the Anacreontea (ed. 2, Lipsiz, 1876). It was originally bound up with the famous Anthologta Palatina. The complete volume, which belongs to the eleventh century, contained 709 pages; the Anthologza extend- ing over pp. 1-614, and the Axnacreontea*’ ( Avaxpeovros Tyiov συμποσιακὰ ἡμιάμβιαὶ) filling pp. 675-690. This invaluable volume had been purchased about the middle of the sixteenth century by an Englishman travelling in Italy, John Clement,? a protégé of Sir Thomas More. Estienne appears to have had the loan of the MS. from Clement, who died in 1572. Subsequently the volume was bought for the Palatine library at Heidelberg, where it was examined in 1607 by 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 precious MSS. —all stripped of their bindings—to the Vatican, as a present to Pope Gregory XV. When the volume 1In 178x the Abbé Spalletti printed a fac-simile of the MS. Anacreontea. 7An account of John Clement is given in the Dictionary of National Biography. 6 XVill Introduction. was rebound it was divided into two parts,—the Anthologia (pp. 1-614) being bound as one volume, and pp. 615-709 forming another. The two volumes were among the treasures taken to Paris in 1797 by the French Directory. In 1816 the Anthologia Palatina was restored to Heidelberg ; but the smaller volume (pp. 615-709), escaping observation, remained at Paris. A romantic history! Some of the choicest flowers of the Greek epigram- matists are preserved in pp. 1-614. When one considers what perilous risks they have run, cozt Sormidine sanguts. C. B. Stark, whose Questiones Anacreontice is the chief authority on everything that relates to Anacreon, quotes with approval the dictum of Hermann :—“ Paucissima videntur Anacreontis esse, pleraque multo recentiorum, quedam etiam plane imperitorum hominum sunt.” But it would be difficult to select from the Axacreontea a single poem that can be satisfactorily assigned to the true Anacreon. Bergk in dealing with the pseudo- Anacreon is needlessly severe; his tone is too impatient and contemptuous. But it is ποῖ sur- prising that the editor of the peerless lyrists of the great age of Greek poetry spurned the pretty delicacies of the Anacreontea. ‘De originibus Introduction. ΧΙΧ horum carminum,” he writes, ‘accurate et docte disputavit C. B. Stark: neque tamen, quod ille existimat, germanum ullum Anacreontis carmen in his inest, sed recentioris originis sunt omnia, diversis illa quidem ztatibus composita et temporis decursu identidem immutata.” Doubtless Bergk was absolutely right. For my own part I would go a step further, and would say that one or two pieces attributed by Bergk to the true Anacreon should be relegated to the A nacreontea. To what approximate date the earliest poems in the Amacreontea should be ascribed no scholar has definitely determined. It is a difficult inquiry; but a few may possibly be assigned to the third century B.C. The pseudo-Anacreontic poems were sometimes accepted as genuine by ancient critics who ought to have known better. Aulus Gellius (oct, Ait. xix. 9) quotes Tov ἄργυρον τορεύων, with a somewhat different text. It is inferior to many pieces in the Anacreontea; but Gellius could not have been more enthusiastic about it if it had been one of the best poems of the true Anacreon. He introduces it thus. A young man, of culture and position, gives a banquet; and among the guests is a rhetorician Antonius Julianus, who 15 reputed to be well versed b 2 ΧΧ Introduction. in all polite literature. The host had a pretty taste for music, and after the banquet Julianus suggests that the players and singers should be brought in; whereupon “posteaquam introducti pueri puellaque sunt, jucundum in modum ‘Avaxpeovrea pleraque et Sapphica et poetarum quoque recentium idyllia quzedam ᾿Εἰρωτικὰ dulcia et venusta cecinerunt.” All the guests were charmed with the songs; but Gellius assures us that the verses which specially delighted them were the ‘“versiculi lepidissimi Anacreontis senis” printed on p. 42. Some Greeks who were present triumphantly asked Julianus ‘quid de Anacreonte czterisque id genus poetis sentiret ?” What Latin poets had written so melodiously? “ Nisi Catullus, inquiunt, forte pauca et Calvus itidem pauca.” In reply the rhetorician bored the company with an encomium on some musty old Latin poets— Valerius A¢dituus, Porcitus Licinius, and Quintus Catulus. How the hemiambics came to be the generally adopted metre for the Axacreontea is not clear. Lightly handled, for amatory and bacchanalian songs, the measure is attractive ; but I cannot discover that it was a favourite with the true Anacreon. In the fourth and fifth centuries Gregory Nazianzen and . Synesius employed it in their hymns. Lutroduction. ΧΧΙ Of the genuine Anacreon we possess only ἃ few fragments, but they are enough to show how serious a loss we have suffered. The addresses to Artemis and to Dionysus (pp. 163-4) belong to the golden age of Greek lyrical poetry. Their clear utterance and faultless rhythm are far removed from the shallow elegance of the Axnacreontea. The fragment quoted by Athenzeus, Ὧ παῖ παρθένιον βλέπων (p. 165), has ' the haunting charm of Sappho’s songs. And what could be daintier than the warning to the wayward Thracian damsel, Πῶλε Opnxin τί δή με (which Horace imitated in ‘“Vitas hinnuleo me similis, Chloe”)? Anacreon had also a turn for invective: his ridicule of Artemon, an effeminate upstart, is sufficiently bitter. Anacreon was born in the sixth century B.c, at Teos, an lonian city in Asia Minor. About 540,. when Harpagus reduced Teos to slavery, he fled to Abdera, in Thrace. Polycrates invited him to Samos, and there he remained until the tyrant was murdered in 522. In Herodotus (iii. 121) there is a story of a herald who was sent by Orcetes to Samos. He was ushered in to the royal presence, and found Polycrates engaged with Anacreon. Whether to show his contempt for Orcetes, or out of carelessness, Polycrates lay with his face turned towards the wall while the herald was speaking, and when the speech ΧΧΙΙ Introduction. was over made no answer. Put case that it had been Lord Salisbury, Mr. Swinburne, and the Russian Ambassador! Maximus Tyrius would have us believe that the love-poems were a public benefit to Samos, in that they softened Polycrates’ heart and induced him to treat his subjects with lenity. Plato ({7zpp. 228 C.) is the authority for the state- ment that Hipparchus after the murder of Polycrates sent a fifty-oared galley to fetch the poet in state to Athens, where (as we learn from Pausanias i. 25) the citizens set up a statue in his honour at the Acropolis. According to Lucian (De Macrod. c. 26), he died at the age of eighty-five, the tradition being that he was choked by a grapestone. Simonides wrote two epitaphs upon him; and there are others by Antipater of Sidon,—one being the beautiful epigram Θάλλοι τετρακόρυμβος, ᾿Ανάκρεον, ἀμφί σε κισσός, which was worthily rendered by Goethe. The Alexandrine critics included Anacreon among the Nine Lyric Poets,—with Pindar, Bacchylides, Sappho, Simonides, Ibycus, Alczus, Alcman, and. Stesichorus. They divided his poems into five books. Among his commentators were Zenodotus of Ephesus, and Aristarchus; and we know from Athenzeus (xii. 533) that Chamzleon of Pontus wrote a book about him. How long the collection of genuine poems was Introduction. ΧΧΙΠῚ preserved in its integrity cannot be ascertained. Atheneus in the third century a.p. declared that Anacreon was in everybody’s mouth, Πᾶσίν ἐστι διὰ στόματος (xii. 600). It is reasonable to suppose that he was not referring to spurious productions, for all the quotations scattered through the Dezpnosophiste are drawn from authentic sources. Maximus Tyrius seems to have been well acquainted with the genuine poems, through we need not pin our faith to his anecdotes about Anacreon. Gradually the facile Anacreontea superseded the older poems in popular favour. Scholars continued to cite the true Anacreon in illustration of some point of grammar or metre; and antiquaries consulted his pages for information on old manners and customs. Finally he shared the fate of Sappho; and now all that remains of the ‘boast of the Ionians” (Εὖχος ᾿Ιώνων, as he was styled by Antipater of Sidon) is a slender scroll of blurred fragments. The student will find these fragments annotated in Bergk’s Gract Lyvtci Poeta.' I have been content to present merely the Greek text, without notes or translation. Had I discovered any good translations of the longer fragments I would gladly have included them; but they are not to be had. Mr. Robert Bridges could, an“ he would, 1They may also be read in Mr. George S. Farnell’s useful and valuable Greek Lyric Poetry, 1891. XXIV Introduction. give us faultless renderings of the hymns to Artemis and Dionysus, but the task is not to be entrusted to inferior hands. The truth is that I issued this little book solely from selfish motives. I am well aware that the Anacreontea are of slight value; but the first piece of Greek verse that I learned as a youngster was Θέλω λέγειν ᾿Ατρείδας,; and I have never ceased to cherish—with a regard that I allow to be uncritical —these elegant trifles. They come to me laden with memories of Ronsard, “Α. W.,” Herrick, Stanley, and Cowley. I wanted to read them once again, with the advantage of fair type and ample margin. So I sent them to press, indulging the hope that I might have time to annotate them amply. But I find that in these days a publisher has little leisure for research. I am greatly indebted to Mr. J. R. Weguelin for his illustrations. He has shown that he is one of the very few artists who combine high technical excellence with pure classical refinement. 16, HENRIETTA STREET, CovENT GARDEN, LONDON, December, 1892. 1 Henri Estienne arbitrarily, but tastefully, printed this piece as the first poem in his collection. I have mainly followed his arrangement of the poems; but in the List of First Lines the order adopted by Bergk (who follows the Palatine MS.). LIST OF ILLUSTRATIONS. FRONTISPIECE. LOVE’S NIGHT WALK ROSES “ Or a crystal spring wherein Thou mightst bathe thy purer skin ” THE WISH THE INVITATION... THE PICTURE LOVE IMPRISONED THE SPRING ‘THE BEE ... ON A BASIN WHEREIN VENUS WAS ENGRAVED TO FACE PAGE )»ο 7 13 41 53 65 77 95 103 123 INDEX OF FIRST LINES OF THE ANACREONTEA. (The bracketed numbers give the order of the Odes as they are printed in BERGK’S Lyrici Greci Poetz.) "Aye ζωγράφων ἄριστε (15) “Aye ξωγράφων ἄριστε (2 B) Ai Μοῦσαι τὸν "Ἔρωτα (19) "Ava βάρβιτον δονήσω (58-59) ᾿Ανακρέων ἰδών με (1) “Apa τίς τόρευσε πόντον (55) “Ades με, τοὺς θεούς σοι (8) Γράφε μοι Βάθυλλον οὕτω (16) Διὰ νυκτὸς ἐγκαθεύδων (35) Δοκέει κλύειν γὰρ ἥδε (62)... 4ότε μοι, Sor’, ὦ γυναῖκες (17-18)... 4ότε μοι λύρην ἱΟμήρου (2) ᾿Εγὼ γέρων μέν εἶμι (45) ... ᾿Εδόκουν ὄναρ τροχάξειν (28) Εἰ φύλλα πάντα δένδρων (13) PAGE 156 122 XXVIII Index. "Ev ἰσχίοις μέν ἵπποι (26 B) wee wee ae wee 138 ᾿Επειδὴ βροτὸς ἐτύχθην (38) ον wee wee .. 56 ᾿Επὶ μυρσίναις repelvass (30) ΝΕ ΈΞΞΙ ᾽Ερασμίη πέλεια (14) wes wes wes eee .. 20 "Ἔρως ποτ᾽ ev ῥόδοισιν (33) oes oes vee ον 102 "Ἔρωτα κήρινόν τις (10) Ἢ γὴ μελαῖνα πίνει (21) ... ον wee wee .. 48 Ἢ Ταντάλου ποτ᾽ ἔστη (22) wes wes ses ws 40 “Héupenrs ’ Avaxpéwy (20) ... ον we wes ὦ. 148 Θέλω, θέλω φιλῆσαι (12) ... wes wes oes .. 28 Θέλω λέγειν ᾿Ατρείδας (23) oes wes wee ves 2 “Ide πῶς ἔαρος φανέντος (44) ον ves ves rey. “Ιχλαροὶ πίωμεν οἶνον (36) ... wes ον ves ws 104 Καλλιτέχνα τόρευσον (4) ... vee wee tee we 44 Aégyovowy ai γυναῖκες (6) .... ves ον wee ws (34 ἹΜακαρίζομέν σε, τέττιξ (32) wes wes wes .»» 10 Μεσονυκτίοις ποθ᾽ ὥραις (31) ... wee ον n°) Μή pe φύγης ὁρῶσα (49) ... wee wee wee . 84 Ὃ ἀνὴρ ὁ τῆς Κυθήρης (27 A)... ον vee vee 114 Ὃ δραπέτας ὁ χρυσός (56)... .. nee nee wwe 152 Ὃ πλοῦτος εἴ γε χρυσοῦ (34) νον ves ves ws δ4 Ὃ ταῦρος οὗτος, ὦ παῖ (52) wee nee vee .. 78 ‘O τὸν ἐν πόνοις ἀτειρῆ (54) wes ον ον ws 120 Οἱ μὲν καλὴν Κυβήβην (11) wee wee oes we 32 Index. XX1X Ὅταν ὁ Βάκχος εἰσέλθῃ (46) wee wee wee ... 60 “Ὅταν πίω τὸν οἶνον (43) ... see wee vee we 58 “Or ἐγὼ νέων ὅμιλον (51) ... wee aes wee ws 136 “Οτ᾽ ἐγὼ πίω τὸν οἶνον (48) vee wes nee . 98 Οὔ μοι μέλει τὰ Γύγεω (7) ... wes wes wee ws 36 Παρὰ τὴν σκιὴν, Βάθυλλε ... “ον “ον ase we = 52 Ποθέω μὲν Διονύσου (40) ... νον wes nes ws 108 Στεφανηφόρου pet ἦρος (53) ee see wee ὦν 126 Στεφάνους μὲν κροτάφοισιν (41) ... ον ον we 14 Στέφος πλέκων ποθ᾽ εὗρον (5) ... wes ον os 146 Σὺ μὲν λέγεις τὰ Θήβης (26 Α) ... ο... wes ww. 38 Σὺ μὲν, φίλη χελιδών (25)... wee enews wee 88 Τὶ καλόν ἐστι βαδίζειν (30) wes see wes we. 150 Ti με τοὺς νόμους διδάσκεις (50) ... wee wee wes 92 Ti με φεύγεϊῖς τὸν γέροντα (61) .... wee wee ον 159 Τί σοι θέλεις ποιήσω (9) ... “ον. ον vee wee 30 To ῥόδον τὸ τῶν ᾿Ερώτων (42) ... aes nee we 12 Tov ἄργυρον ropedwy (3)... we wee nee eH Tov μελανόχρωτα βότρυν (52) ... wes wes wes 132 Tod Διὸς ὁ παῖς ὁ Βάκχος (47) ... wee eee ... 62 ‘TaxwOlvy με ῥάβδῳ (29) ... wes wee wee we 16 Φέρ᾽ ὕδωρ, φέρ᾽ οἶνον, ὦ παῖ (60) ... ... wee wee 1ὅ0 Φιλῶ γέροντα τερπνόν (37)... oes eee wes .. 118 Φύσις κέρατα ταύροις (24) ... vee wee see er. Xarerov τὸ μὴ φιλῆσαι (27 B, C) ves ves we. 116 ANACREON. I. ANACREONTEA. ANAKPEON. ΕΙΣ KIOAPAN. I. Θέλω λέγειν ᾿Ατρείδας, θέλω δὲ Κάδμον ᾷδειν " ὦ βάρβιτος δὲ χορδαῖς ἔρωτα μοῦνον ἠχεῖ. ἥἤμειψα νεῦρω πρώην καὶ τὴν λύρην ἅπασαν, κὠγὼ μὲν ἧδον ἄθλους Ἡρακλέους : λύρη δὲ ἔρωτας ἀντεφώνει. χαίροιτε λοιπὸν yi, ἥρωες “ἢ λύρη yap μόνους ἔρωτας adel. ANACREON. The Lute. ΟΕ th’ Atrides I would sing, Or the wand’ring Theban king ; But when I my lute did prove, Nothing it would sound but love ; Ι new strung it, and to play Herc'les’ labours did essay ; But my pains I fruitless found ; Nothing it but love would sound: Heroes then farewell, my lute To all strains but love is mute. B2 ΕΙΣ TYNAIKA®2. 1]. / / / Φυσις KEpata Tavpoic, ε δ 3 f oTmAas δ᾽ edwKev ἵπποις, ͵ ~ ποδωκίην Aarywois, / / > 3997 λέουσι γᾶσμν ὀδόντων, ~ > / \ / τοῖς ἰχθυσιν τὸ νηκτὸν, -“ > 4 / τοῖς ὀρνέοις πετᾶσθαι, ~ > 4 ῇ τοῖς ἀνδράσιν φρόνημα. \ 3 ἴἅ»ν. κ᾿ γυνῶιξιν οὐκ eT εἶχεν. . ὕω. τί οὖν δίδωσι: καΐλλος 9 9 > / έ ~ QYT ἀσπίδων ἁπασῶν, > 3 5» ε / ὥντ ἐγχέων anayTwy. ~ \ \ νικῷ δὲ καὶ σίδηρον \ ~ 4 % καὶ πυρ KaAy τις οὗσα. Beauty. IT. Horns to bulls wise Nature lends ; Horses she with hoofs defends ; Hares with nimble feet relieves ; Dreadful teeth to lions gives ; Fishes learns through streams to slide ; Birds through yielding air to glide ; Men with courage she supplies ; But to women these denies. What then gives she? Beauty, this Both their arms and armour is: She, that can this weapon use, Fire and sword with ease subdues. ΕΙΣ EPOTA. ITT. Μεσονυκτίοις ποθ᾽ ὥραις, / > e > Κ'ὶ “ στρεφεθ ik Αρκτος ἤδη \ « \ Kata χεῖρα τὴν Βοώτου, \ - μερόπων δὲ φῦλα πάντα / / κέατωι κόπῳ δωμέντα, / > Υ͂ 9 7 ToT Epws επισταθεὶς ev / f ~ θυρέων ExonT ὑχῆας. / / τίς, ἔφην, θύρας ἀράσσει: / Kata μεὺ σχίξεις ὀνείρους. € «Ὁ "τ , ὃ ὃ Ἔρως, ἄνοιγε, φησίν " / > / \ / e βρέφος εἰμὶ, wy φοβησαι / \ > 7 Bpexowat δὲ κασελήνον \ ὔ / κατῶ νυκτὰ πεπλαᾶνημοαι. 9 ͵ ~ 9 9 ’ e ἐλεησα TAVT AKOUTAS Love's Night Walk. Ill. DowNwarb was the wheeling Bear Driven by the Waggoner : Men by powerful sleep opprest, Gave their busy troubles rest ; Love, in this still depth of night, Lately at my house did light ; Where, perceiving all fast lock’d, At the door he boldly knock’d. | “Who's that,” said I, “that does keep Such 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 way Led by this dark night astray.” With compassion this I heard ; ava δ᾽ εὐθὺ λύχνον ἅψας > 7 \ / \ avewea, Kat βρέφος μεν 9 Ce / / ἐσορὼ cepovta τόξον πτέρυγάς τε καὶ φαρέτρην. \ > “e / ~ παρᾶ δ ἱστίην Kabioa, παλάμαις τε χεῖρας αὑτοῦ ἀνέθαλπον, ἐκ δὲ χαίτης ἀπέθλιβον ὑγρὸν ὕδωρ. ε > 3 \ / ~ ὁ δ᾽, ἐπεί κρύος μεθῆκεν, / / / φερε, φησι, πειρώσωμεν 4 / 9 ~ Tobe τόξον, εἰ Th MOL νὺν βλάβεται βραχεῖσα νευρή. τανύει δὲ καί με τύπτει $ * . μέσον ἥπαρ, ὥσπερ οἶστρος ἀνὰ δ᾽ ἄλλεται Kayatwy, , > ΄ ° Eeve, δ᾽ etme, συγχαρηθι \ \ ~ κέρας άβλαβες μεν ἡμῖν, \ δ / “ σὺ δὲ καρδίην πονήσεις. 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 chaf’d his hand, — And with kindly busy care Wrung the chill drops from his hair. When well warm’d he was, and dry, “Now,” saith he, ‘‘’tis time to try If my bow no hurt did get, For methinks the string is wet.” With that, drawing it, a dart He let fly that pierc’d my heart ; Leaping 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.” IO. EIZ EAYTON. IV. 3 \ / / ἔπι μυρσίναις τερείναις, ἐπὶ λωτίναις τε ποίαις στορέσας θέλω προπίνειν" ὁ δ᾽ Ἔρως χιτῶνα δήσας ὑπὲρ αὐχένος παπύρῳ / / μέθυ μοι διακονείτω. z τροχὸς ἅρματος yap ola / / fe βίοτος τρέχει κυλισθεὶς ὀλίγη δὲ κεισόμεσθα , ἌΝ, , Kovig ootewy λυθεντων. τί σε δεῖ λίθον μυρίζειν ; τί δὲ γῇ χέειν μάταια: ἐμὲ μᾶλλον, ὡς ἔτι ζῶ, ’ ¢/ \ ~ μύρισον, ρόδοις δε κρᾶτα / / > e ͵ πύκασον, κάλει δ᾽ εταίρην. πρὶν, Ἔρως, ἐκεῖ μ᾽ ἀπελθεῖν ὑπὸ νερτέρων χορείας, σκεδάσαι θέλω μερίμνας. II [On Himself IV. 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) must Moulder in forgotten dust. Why then graves should we bedew? Why the ground with odours strew? Better whilst alive, prepare | Flowers and unguents for our hair. Come, my fair one! come away ; All our cares behind us lay, That these pleasures we may know, Ere we come to those below. [2 ΕΙΣ ῬΟΔΟΝ. V. \ e/ \ ~ To ῥόδον τὸ τῶν ᾿Ερώτων “4 Φ μίξωμεν Διονύσῳ \ {; \ τὸ podoy τὸ καλλίφυλλον Ul ε κροτάφοισιν ὡρμόσαντες, ε \ ~ πίνωμεν ABoa γελωντες. e/ z / 9 podov, ὦ φέριστον ἄνθος, ¢/ 9 / podoy elapos μέλημα, e/ \ « 4. [peta καὶ θεοῖσι τερπνῶ " e/ z ~ / ῥόδον w παῖς ὁ Κυθηρης / \ ’ στέφεται καλοὺς ἰουλους Χαρίτεσσι συγχορεύων. P P 3 \ στέψον οὖν me, καὶ AupiCwy \ ~ ’ ~ παρᾶ TOs, Διόνυσε, σήκοίς, \ / / peta κούρης βαθυκόλπου € / / ῥοδίνοισι στεφανίσκοις “ πεπυκάσμενος χορεύσω. [2 ΕΙΣ ῬΟΔΟΝ. V. \ ¢/ \ ~ To ῥόδον to τῶν ᾿Ερώτων / / e μίξωμεν Διονύσῳ \ {, \ τὸ podoy τὸ καλλίφυλλον Ul κροτάφοισιν ἁρμόσαντες, / ε \ ~ πίνωμεν aBoa γελῶωντες. έ; ¥ , ὔ poder, ὦ φέριστον ἄνθος, ἐ; 9 / podoy εἴαρος μελήμα, ε; \ » ’. [ῥόδα καὶ θεοῖσι τερπνῶ *] ε; φ ~ 4 ῥόδον ᾧ παῖς ὁ Κυθήρης \ στέφεται καλοὺς ἰούλους ’ Χαρίτεσσι συγχορευων. 3 στέψον οὖν με, καὶ AvpiCwy \ ~ ’ ~ Tapa aos, Διόνυσε, σηκοίς, μετὰ κούρης βαθυκόλπου € / / ῥοδίνοισι στεφανίσκοις / / πεπυκάσμενος χορευσω. Roses. V. Roszs (Love's delight) let’s join To 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 he For the ball himself disposes, Crowns his golden hair with roses. Circling then with these our brow, Well to Bacchus’ temple go: There some willing beauty lead, And a youthful measure tread. 14 EPQOTIKON. VI. Στεφάνους μὲν κροτάφοισιν ῥοδίνους συναρμόσαντες, μεθύωμεν ἁβρᾶ γελῶντες. ὑπὸ βαρβίτῳ δὲ κούρα κατακίσσοισι βρέμοντας πλοκάμοις φέρουσα θύρσους χλιδανόσφυρος χορεύει. ἁβροχαίτας δ᾽ ἅμα κοῦρος στομώτων adv πνεόντων προχέων λίγειαν ὀμφὴν Kata πηκτίδων ἀθύρει. ὁ δ᾽ Ἔρως ὁ χρυσοχαίτας μετὰ τοῦ καλοῦ Avaiou [καὶ τῆς καλῆς Κυθηρης) τὸν ἐπήρατον ᾿γεραιοὶς ~ 4 / KW {Loy μέετεισ ί χαιρῶν. AA nother. VI. Now with roses we are crown’'d, Let our mirth and cups go round, Whilst a lass, whose hand a spear Branch'd with ivy twines doth bear, With her white feet beats the ground To the lute’s harmonious sound, Play’d on by some boy, whose choice Skill is heighten’d by his voice ; Bright-hair’d Love, with his divine Mother, and the God of Wine, Will flock hither, glad to see Old men of their company. AAAO EPOTIKON. VII. Ὑακινθίνῃ με ῥάβδῳ χαλεπῶς Ἔρως ῥαπίξζων ἐκέλευε συντροχάζειν. διὰ δ᾽ ὀξέων μ᾽ ἀναύρων ξυλόχων τε καὶ φαρώγγων τροχάοντα τεῖρεν ἱδρώς ° κραδίῃ δὲ ῥινὸς ἄχρις ἀνέβαινε, κἄν ἀπέσβην. ὁ δ᾽ Ἔρως μέτωπα σείων ἁπαλοῖς πτεροῖσιν εἶπεν᾽ σὺ γὰρ οὐ δύνῃ φιλῆσαι. 17 The Chase. VII. WITH a whip of lilies, Love Swiftly me before him drove ; On we cours’d it, through deep floods, Hollow valleys, and rough woods, Till a snake” that lurking lay, gchanc'd to sting me by the way: Now 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 day Love without constraint t’ obey.” * Stanley read πεῖρεν ὕδρος. 18 ONAP. VIII. \ \ 3 / Aia νυκτὸς eyKxabevdwy ε / / λιπορφυροις ταπησιν, / / γεγανωμένος Avaiw 4.7 / ~ edoKour ἄκροισι ταρσῶν / > A 3 / δρόμον ὠκὺν εκτανύειν \ / Int peta παρθένων abvowy. 3 / \ ἐπεκερτόμουν δὲ παῖδες ’ ὥπαλωτεροι Λναίου, ’ / / δακεθυμᾶ μοι λέγοντες ' \ \ \ 9 ᾽ὔ διὰ τας καλᾶς εκείνας. 3,7 \ .-“ εθελοντα de φιλῆσαι / 3 e/ / e φύγον εξ ὑπνου με πᾶντες “ 3 ¢ / μεμονωμένος ὃ ὁ τλημῶων / / πάλιν ἤθελον καθεύδειν. 19 The Dream. VIII. As on purple carpets I Charm’d by wine in slumber lie, With a troop of maids (resorted There to play) methought I sported ; Whose companions, lovely boys, Interrupt me with rude noise ; Yet I offer made to kiss them, But οὐ th’ sudden wake and miss them. Vext to see them thus forsake me, I to sleep again betake me. 20 ΕΙΣ NEPIZTEPAN. ΙΧ. 3 / “ Ερασμίη πελειῶ, , , , . ποθεν ποθεν πετασσαι : “ πόθεν μύρων τοσούτων > > 537] / ἐπ ἠέρος θέουσα , \ / . mvecig τε Kal ψεκάζεις 5 / 3. / / 4, τίς εἰ; Ti σοι μέλει δε: > / 3 Ανακρεων mw ἔπεμψεν \ \ ἤ πρὸς παῖδα, πρὸς Βαθυλλον, \ 9 « ε / TOY ἄρτι τῶν aTaYTWY ~ \ / κρατοῦντα καὶ τυρᾶννον. 4 ’ 42 e , Tem paKke 6 ἡ Kubyoy .ῳ \ e/ e λαβουσὼ μικρὸν υμνον 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. “19 to thee which way I’m bent ? By Anacreon I am sent To Rhodantha, she who all Hearts commands, Love’s general. I to Venus did belong, But she sold me for a song To her poet; his I am, 22 \ eyw δ᾽ ᾿Ανακρέοντι διωκονῶ τοσαῦτα" A ~ ~ Kal νῦν, ὁρᾷς, ἐκείνου \ ἐπιστολᾶς κομίζω. - καί φησιν εὐθεως με 3 / / ελευθερὴν ποιήσειν. \ / A “ ἐγὼ δέ, κῆν ἀφῇ pe, ἤ . 3 > ως δουλη μενῶ παρ αὐτῷ 7 γ' - VA τί yap με δεῖ πέτασθαι \ / ὄρη TE καὶ KAT ὠγροῦς, kav δένδρεσιν καθίξειν . φαγοῦσαν ἄγριον τι: . of \ 3 τανῦν ἐδὼ μὲν ἄρτον ’ ~ ἀφαρπάσασα χειρὼν 9 ’ 9 ~ . Ανωκρέοντος auTou 23 And from him this letter came, For which he hath promis’d me That 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 bread From his hand, and freely sup 24 ~ / πιεῖν δὲ μοι δίδωσιν \ ‘1 ἃ / e τὸν οἶνον, ὃν προπίνει φὥω > ’ὔ πιοῦσα δ᾽ ἀγχορείω, \ 4 καὶ δεσπότην κρέκοντα πτεροῖσι συσκιάξω. / 2 > 2 > »ν» κοιμωμένῃ ὃ ἐπ᾿ αὐτῷ sd , τῷ BapBitw καθεύδω. sf e >, ΚΝ e ἔχεις ἅπαντ ᾿ ἄπελθε / f λαλιστερᾶν μ᾽ ἔθηκας, 97 \ ’ ἄνθρωπε, καὶ κορωνῆής. 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 curiosity Makes me to outchat a pie.” 28 EIZ EPOTA. ΧΙ. Θέλω θέλω φιλῆσαι. ἔπειθ᾽ "Ἔρως φιλεῖν με, ἐγὼ δ᾽ ἔχων νόημα ἄβουλον οὐκ ἐπείσθην. ὁ δ᾽ εὐθὺ τόξον ἄρας καὶ χρυσέην φαρέτρην μάχῃ με προὐκαλεῖτο. 9 \ \ > 9 97 Kayw λαβὼν ἐπ ὠμων θώρηχ᾽, ὅπως ᾿Αχιλλεύς, \ . \ / καὶ δοῦρα καὶ βοείην ἐμωρνάώμνην "Ἔρωτι. ἐβαλλ᾽, ἐγὼ δ᾽ edevyoy * ὡς δ᾽ οὐκ ἔτ᾽ εἶχ᾽ olotous, ἤσχαλλεν ᾿ εἶθ᾽ ἑαυτὸν ? ~ ἤ ἀφῆκεν εἰς βελεμινον, 29 The Combat. ΧΙ. 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 meet ; On he charges, I retreat: Till perceiving in the fight He had wasted every flight, Into me, with fury hot, Like a dart himself he shot, 30 μέσος δὲ Kapding jeu +o , > »° eduve, καί μ᾽ ελυσεν. μάτην δ᾽ ἔχω βοείην " τί γάρ βάλω μιν ἔξω, μάχης ἔσω μ᾽ ἐχούσης : ΕΙΣ XEAIAONA. XIT. Ti σοι θέλεις ποιήσω, τί σοι, AdAn χελιδὼν ; τὰ ταρσά σευ τὰ κοῦφα θέλεις λαβὼν ψαλίξω ; ἢ μᾶλλον ἔνδοθέν σευ τὴν γλῶσσαν, ὡς o Τηρεὺς ἐκεῖνος, ἐκθερίξω : τί μευ καλὼν ὀνείρων ὑπορθρίαισι φωναῖς ἀφήρπασας Βαθυλλον ; 31 And my cold heart melts ; my shield Useless, no defence could yield ; For what boots an outward screen When, alas, the fight’s within | The Swallow. XII. CHATTERING swallow! what shall we, Shall we do to punish thee? Shall we clip thy wings, or cut Tereus-like thy shrill tongue out? Who Rhodantha driv'st away From my dreams by break of day. 32 ΕΙΣ EAYTON. XIII. Οἱ μὲν καλὴν Κυβηήβην τὸν ἡμίθηλυν ἤΑττιν ἐν οὔρεσιν βοῶντα λέγουσιν ἐκμανῆναι. οἱ δὲ Κλάρου map ὄχθαις δαφνηφόροιο Φοίβου λάλον πιόντες ὑδωρ μεμηνότες βοῶσιν. ἐγὼ de τοῦ Avaiov καὶ τοῦ μύρου κορεσθεὶς καὶ τῆς ἐμῆς ἐταίρης θέλω θέλω μανῆναι. 33 [Wine and Love.| XIII. ATIs through deserted groves, Cybele invoking roves; ° And like madness them befell Who were drunk at Phoebus’ well ; But I willingly will prove Both these furies, Wine and Love. 34 ΕΙΣ EAYTON, XIV. / ε ~ e Λέγουσιν at yuvatkes 3 / / 3 Ανακρέων, γερων el, \ f f λαβὼν econtpoy ἄθρει / \ 3 3) 5» ΩΝ KOMAS μὲν οὐκ ET UCAS, \ / / ψιλὸν δὲ σευ μετωπον. 9 \ \ \ 4 ’ ἐγὼ ὃὲ Tag κόμας μέν, # 9 > ἢ 9 3 > « εἴτ εἰσὶν, EIT ἄπηλθον, ? εἰ e ~ 3 ᾿ οὐκ oida’ Touro ὃ οἶδα, ἧς τῷ γέ LAA WS τῷ γέροντι μᾶλλον / \ \ πρέπει TO τερπνὰ παίζειν e / \ / ὅσῳ πελᾶς τὰ Μοίρης. 35 The Old Lover. XIV. By the women I am told | “°Las! Anacreon thou grow’st old, Take thy glass and look else, there Thou wilt see thy temples bare.” Whether I be bald or no, That I know not, this I know,— Pleasures, as less time to try Old men have, they more should ply. 36 ΕἸΣ TO ΑΦΘΟΝΩΣ ZHN. XV. 3 / \ , Ov μοι perce: τῶ Γύγεω, ~ 3 e τοῦ Σαρδίων ἄνακτος 9.3 @. / / ω oud εἷλε πω με ζῆλος, IQA N ~ f οὐδε φθονὼ τυρῶννοις. 3 \ ’ “ Emol μέλει μυροισιν / ε / e καταβρέχειν ὑπηνὴν 3 \ / ¢/ Emol μέλει ῥόδοισιν / , κατάστεφειν κῶρηνα. \ / / TO σήμερον μέλει μμοι, Ἁ 3 ΝΜ ͵ ἣ e τὸ δ αὐὑριον τίς older ε bd " 5 IN / 3 Ws οὖν eT εὐδία στιν, \ ~ \ , Kal πίνε Kal κύβευε, \ / ~ ’ καὶ σπένδε τῷ Avaiw, \ ~ 9) of (μη νοῦσος, ἣν τις ελθῃ, / \ ww / λεγῃ σε py τι πίνειν. 37 [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 prepare | Fragrant unguents for my hair ;. All my care is where to get Roses for a coronet ; All my care is for to-day ; What'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. 33 EIZ EAYTON. XVI. Σὺ μὲν λέγεις τὰ Θηβης, ε 3 J « 9... ἢ, ὁ δ᾽ αὖ Φρυγὼν αὑτας" 3 \ 3 3 \ e ’ ἔγω ὃ εμᾶς adweeis. οὐχ ἵππος ὠλεσέν με, ov πεζός, οὐχὶ νῆες" στρατὸς δὲ καινὸς ἄλλος an ὀμμάτων με βάλλων. 39 The Captive. XVI. Tuou of Thebes, of Troy sings he; I my own captivity: ‘Twas no army, horse, or foot, Nor a navy brought me to’, But a stranger enemy Shot me from my mistress’ eye. 40 ΕΙΣ KOPHN. XVII. ε ’ Η Ταντάλου mor ἔστη . 3 39, λίθος Φρυγὼν ev ὄχθαις. \ . 9. Ν καὶ Taig ποτ ὄρνις ἐπτῆ ’ Πανδίονος γχελιδων. 3 \ > @ 4 eyw ὃ εσοπτρον εἴην, t \ , e ὅπως ἄεί βλέπῃς με 9 \ \ ἐγὼ χιτῶν γενοίμην, e > \ ~ ὅπως Gel φορῃς με. / ’ ὑδωρ θελω γενέσθαι, / .-“ , e ὅπως CE χρῶτα λούσω , , μύρον, γύνωι, yevoiuny, “ » ἢ > 2 ͵ ὅπως ἔγω σ᾽ ἀλειίψω. \ \ -“ καὶ ταινίῃ δὲ μαστῶν, \ / ’ καὶ μῶργᾶρον τραχήλῳ, \ / , e Kal σάνδωλον γενοίμνην , \ / μόνον Wooly WAaTEl με. 41 The Wish. XVIT. NioBE on Phrygian sands Turn’d a weeping statue stands, And the Pandionian Maid In a swallow’s wings array’'d ; But a mirror I would be, To be look’d on still by thee; Or the gown wherein {που τί drest, That I might thy limbs invest ; Or a crystal spring, wherein Thou might’st bathe thy purer skin ; Or sweet unguents, to anoint And make supple every joint ; Or 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. 42 ΕΙΣ TIOTHPION ΑΡΓΥΡΟΥ͂Ν. XVIII. \ 3/ / Tov ἄργυρον Ttopevwy / / / ἭΦαιστε μοι ποίησον / \ > , πανοπλίαν μὲν οὐχί \ / > τί γὰρ μάχαισι κῶμοί ; “ \ ~, ποτήριον δὲ κοῖλον, / / ὅσον duvy, βαθυνας. ’ / 9 3 ~ ποίει δὲ μοι KAT αὑτοῦ , > ss 4p? «0, pyt ἄστρα μηθ ἅμαξαν, \ \ » , . py στυγνὸν Qpiwva / , ti Πλειάδων μέλει μοι ; \ ~ / τί yap καλοῦ Bowrov 5 3 / ποίησον ἀμπέλους μοι, \ / 3 > ω καὶ βότρυας κατ αὑτῶν, καὶ Μαινάδας τρυγώσας, 43 The Cup. XVIII. VULCAN come, thy hammer take, And of burnish’d silver make (Not a glittering armour, for What have we to do with war? But) a large deep bowl, and on it I would have thee carve (no planet: Pleiads, Wains, or Waggoners, What have we to do with stars? ° 44 \ ov ποίει δὲ ληνὸν οἴνου , ω AnvoBatas πατουντας, \ ’ -“ τοὺς Σατύρους γελῶντας, \ ὦ A 9 καὶ χρυσοὺυς τοὺς Epwrac, \ , . καὶ Kudeoyy γελῶσαν, ε ~ ~ ’ omov Kadw Avaiw Ἔρωτα κ᾽ ᾿Αφροδίτην. ΕΙΣ ΤΟ ΑΥ̓ΤΟ. XIX. Καλλιτέχνα τό pevooy Ν , cw, εῶρος κυπελλον YY τῶ πρῶτ᾽ ἤδη τὼ τερπνὰ ῥόδα φέρουσιν Ὧραι" ἀργύρεον δ᾽ ἁπλώσας 4 / / Φ ΠΟΙΕΙ ποτον (μοι τερῆνον 45 But to life exactly shape) Clusters of the juicy grape ; Whilst brisk Love their bleeding heads Hand in hand with Bacchus treads. A nother. XIX. ALL thy skill if thou collect, Make a cup as I direct: Roses climbing o’er the brim, Yet must seem in wine to swim; 46 \ ~ ~ fy τελετων, παραινω, \ / ’ pon ξένον μοι τορεύσῃς, \ ‘ee " . Ly φευκτὸν ἱστορημῶ \ / μᾶλλον ποίει Διὸς γόνον ’ Wee e ~~ 6 Baxyov Eviov ἡμίν / / € / pouotis νάματος ἡ Kumpre ε ~ ὑμενοωίους κροτοῦσα. ’ 3 Μ > ἢ χαρασσ Ἑρωτας ἀνόπλους. \ / / Kat Xapitag γελωσᾶς ε 2 4 > ἢ υπ ἄμπελον εὐπεταλον, 5,7 ~ e euBoTpuoy, Komwoay ’ , 9 “Ὁ . συνῶπτε κούρους εὐπρεπεῖς ἅμα δὴ Φοῖβος ἀθύροι. 47 Faces too there should be there, None that frowns or wrinkles wear ; But 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 day With a youthful bevy play. 48 ΕΙΣ TO AEIN ITINEIN. XX. ε ~ “ H γῇ μεέλαινα πίνει, \ / 3 % ~ πίνει δὲ Sevdpe αὖ γῆν. 4 ’ 3 9 , πίνει θώλασσ ἀναύρους, 3 / / ὁ δ᾽ ἥλιος θάλασσαν, \ 3 / “ τὸν ὃ ἥλιον σελήνη. / / 3 ε ~ τί μοι mayerd, εταίροι, 3 ~ 4 / . KauT@ θέλοντι πίνειν 5 49 [Zhe Need of Drinking.| XX. FRUITFUL earth drinks up the rain ; Trees from earth drink that again ; The sea drinks the air,” the sun Drinks the sea, and him the moon. Is it reason then, d’ye think, I should thirst when all else drink? * Stanley read πίνει θάλασσα δ᾽ αὔρας. 52 ΕΙΣ BAOYAAON. XXIT. Παρὰ τὴν σκιὴν, Babuare, κάθισον" καλὸν τὸ δένδρον " ς \ 93 9 ’ ἀπωλᾶς 0 εἐσεισε χαίτας μαλακωτάτων κλαδίσκων.. παρὰ δ᾽ αὐτὸ ψιθυρίζει πηγὴ ῥέουσα πειθοὺς " , a ες e ~ ’ τίς ὧν οὖν ὁρὼν παρελθοι ’ .« καταγ wy bOY TOlOUTO 3 . 53 The Invitation. XXII. CoME, my fair, the heat t’ evade, Let us sit beneath this shade; See, the tree doth bow his head, And his arms t’ invite thee spread ; Hark, the kind persuasive spring Murmurs at thy tarrying : Who molested by the sun Would so sweet a refuge shun ? 54 ΕΙΣ ®IAAPLYPON. XXITI. Ὃ πλοῦτος εἴ γε χρυσοῦ τὸ ζῆν παρεῖχε θνητοῖς, / / ἐκαρτέρουν φυλάττων, a ~ / ἵν, av θανεῖν ἐπελθῃ, / \ / λάβῃ τι καὶ παρελθῇῃ. > yp Υ \ \ / εἰ δ᾽ οὖν τὸ wy πρίασθαι \ ~ ~ τὸ ζὴν ἔνεστι θνητοῖς, \ 3 ~ . τί χρυσὸς ὠφελεῖ με: ~ \ z / θανεῖν yap εἰ πέπρωται, / \ / ’ . τί καὶ μάτην στενάζω : \ / τί καὶ γόους προπέμπω: \ / ἐμοὶ γένοιτο πίνειν, ’ 9 ε ea πιόντι δ οἶνον ἡδὺν ἐμοῖς φίλοις συνεῖναι, > 3 ε ~ / ev ὃ απαλαῖσι κοίταις τελεῖν τὰν ᾿Αφροδίταν. 55 [Gold | XXIII. Ir I thought that gold had power To prolong my life one hour, I should lay it up, to fee Death, when come to summon me; But 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 see That it brisk and racy be, Such as may cold bloods inflame, For by Bacchus arm’d we'll aim At Cythera’s highest pleasure : Wine and love’s the only treasure. 50 EIS EAYTON. XXIV. Ἐπειδὴ βροτὸς ἐτύχθην βιότου τρίβον ὁδεύειν, , v ἃ ~ . χρόνον ἔγνων, ὃν παρῆλθον ὃν δ ἔχω δραμεῖν, οὐκ οἶδα. μέθετέ με φροντίδες ᾿ μηδέν μοι καὶ ὑμῖν ἔστω. \ 9 \ S A 4 πρίν ἐμὲ φθασῃ τὸ TEAS, παίξω, γελάσω, χορεύσω \ ~ ~ / μετα Tou καλου Avaiou. 57 | [On Himself] XXIV. J 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 give: Ere we die, ’tis fit we live. 58 EIZ EAYTON. XXV. oe 4 φ Οταν πίω τὸν οἶνον, φ ς I evdovoly αἱ μέριμναι. 4 4 Ti μοι γόων, τί μοι πόνων, 4 ~ τί μοι μέλει μεριμνῶν 5 ~ ~ “A \ / e θανεῖν we δεῖ, Kav un θελω , _\ , 0 . τί τὸν βίον πλανωμοαι 5 / ¥ \ ᾿ πίωμεν οὖν τὸν οἶνον, \ ~ ~ e τὸν τοῦ καλοῦ Avaiou \ τ ~ δὲ ͵ ε .Φ συν τῷ δὲ πίνειν ἡμᾶς ὔ ε ἤ εὑδουσιν αἱ μεριμναι. 59 [On Fiimselt.| 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 spare: Wine’s the antidote of Care. EIZ EAYTON. XXXVI. e / ὔ Otay ὁ Βάκχος εἰσελθῃ. / , . εὐδουσιν αἱ μέριμναι ~ >) 437 \ ’ δοκῶ ὃ evel τᾶ Κροίσου. 4 ~ θέλω καλῶς ἀείδειν, \ ~ κισσοστεφῆς δὲ κεῖμαι, ~ 9 e/ ~ mato δ ἅπαντα θυμῷ. ἢ \ \ ὁπλιζ᾽ ἐγὼ δὲ πίνω. , 3 ὌΝ φέρε μοι κύπελλον, ὦ Tai ὔ 4 ~ μεθυοντα yap με κεῖσθαι \ ~ A / πολυ κρείσσον ἡ θανόντα. 6! [On Himself.) XXVI. WHEN my sense in wine [ steep, All my cares are lull’d asleep: Rich in thought, I then despise Croesus, and his royalties ; Whilst with ivy twines I wreathe me And sing all the world beneath me. Others run to martial fights, I to Bacchus’s delights ; Fill the cup then, boy, for I Drunk than dead had rather lie. 62 | ΕΙΣ AIONYZON. XXVIT. Τοῦ Διὸς ὁ παῖς ὃ Βάκχος, ὁ λυσίφρων o Λυαῖος, ὅταν εἷς φρένας τὰς ἐμᾶς εἰσέλθῃ μεθυδώτας, διδάσκει me χορεύειν. ἔχω δέ τι καὶ τερπνὸν ὁ τᾶς μέθας ἐραστάς " μετὰ κρότων, μετ᾽ δᾶς τέρπει μὲ K ᾿Αφροδίτα, καὶ πάλιν θέλω χορείειν. 63 [Zo Dionysus. ] XXVII. Jove-born Bacchus, when possest (Care-exiling) of my breast, In a sprightly saraband Guides my foot and ready hand, Which an even measure sets *Twixt my voice and castanets ; Tir’d we sit and kiss, and then To our dancing fall again. 64 EIZ KOPHN. XXVIII. “Aye ζωγράφων ἄριστε, Ῥοδίης κοίρανε τέχνης, γράφε τὴν ἐμνὴν ἑταίρην ἀπεοῦσαν, ὡς ἂν εἴπω. ypade μοι τρίχας τὸ πρῶτον ἁπαλας τε καὶ μελαίνας " ὁ δὲ κηρὸς ὧν δύνηται, γράφε καὶ μύρου πνεούσας. 64 EIZ KOPHN. XXVIII. “Aye ζωγράφων ἄριστε, Ῥοδίης κοίρανε τέχνης, γράφε τὴν ἐμνὴν ἑταίρην ἀπεοῦσαν, ὡς ἄν εἴπω. γράφε μοι τρίχας τὸ πρῶτον ἁπαλάς τε καὶ μελαίνας " ὁ δὲ κηρὸς ὧν δύνηται, γράφε καὶ μύρου πνεούσας. 65 The Picture. XXVIII. PAINTER, by unmatch’d desert Master of the Rhodian art, Come, my absent mistress take, As I shall describe her: make First her hair, as black as bright, And if colours so much right Can but do her, let it too Smell of aromatic dew ; γράφε δ᾽ ἐξ ὅλης παρειῆς ὑπὸ πορφυραῖσι χαίταις ἐλεφάντινον μέτωπον. τὸ μεσὄφρυον δὲ μνή μοι διώκοπτε, μήτε μίσγε " ἐχέτω δ᾽, ὅπως ἐκείνῃ, τὸ λεληθότως σύνοφρυ, βλεφάρων ἴτυν κελαινήν. τὸ δὲ βλέμμα νῦν ἀληθῶς ἀπὸ τοῦ πυρὸς ποίησον, ἅμα γλαυκόν, ὡς Αθῆήνης, ἅμα δ᾽ ὑγρόν, ὡς Κυθήρης. 67 Underneath this shade, must thou Draw her alabaster brow ; Her dark eye-brows so dispose That they neither part nor close, But by a divorce so slight Be disjoin’d, may cheat the sight: From her kindly killing eye Make a flash of lightning fly, Sparkling like Minerva’s, yet Like Cythera’s mildly sweet: 68 / fos \ / ypape piva καὶ παρειᾶς, e/ ~ / / pola τῷ γάλακτι μείξας. γράφε χεῖλος, οἷα Πειθοῦς, προκαλούμενον φίλημα. τρυφεροῦ δ᾽ ἔσω γενείου \ / / περὶ λυγδίνῳ τραχήλῳ Χάριτες πέτοιντο πᾶσαι. στόλισον τὸ λοιπὸν αὑτὴν ὑποπορφύροισι πέπλοις" διαφαινέτω δὲ σαρκὼν ὀλίγον, τὸ σῶμ᾽ ἐλέγχον. ἀπέχει" βλέπω yap αὐτήν. τάχα, KN PE, καὶ λαλήσεις. Roses in milk swimming seek For the pattern of her cheek : In her lip such moving blisses, As from all may challenge kisses ; Round about her neck (outvying Parian stone) the Graces flying ; And o’er all her limbs at last ~ A loose purple mantle cast ; | But so ordered that the eye Some part naked may descry, An essay by which the rest That lies hidden may be guess’d. So, to life th’ hast come so near, All of her, but voice, is here. 70 EIS NEQTEPON ΒΑΘΥΛΛΟΝ. ΧΧΙΧ. Γράφε μοι Βάθυλλον οὕτω τὸν ἑταῖρον, ὡς διδάσκω. λιπαρῶς κόμας ποίησον, τὰ μὲν ἔνδοθεν μελαίνας, τὰ δ᾽ ἐς ἄκρον ἡλιώσας "᾿ ἕλικας δ᾽ ἐλευθέρους μοι πλοκάμων ἀτάκτα συνθεὶς ἄφες, ὡς θέλωσι, κεῖσθαι. ἁπαλὸν δὲ καὶ δροσῶδες 'στεφέτω μέτωπον ὀφρὺς κυανωτέρῃ δρακόντων. μέλαν ὄμμα γοργὸν ἔστω, κεκερασμένον γωλήνῃ, τὸ μὲν ἐξ ΓΑρηος ἕλκον, τὸ δὲ τῆς καλῆς Κυθήρης. 71 A nother. 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 dress With a graceful carelessness ; On each side her forehead crown With an arch of sable down ; In her black and sprightly eye Sweetness mix with majesty, 72 \ ~ iva τις τὸ μὲν φοβῆται, Ἢ > 3» » ; ~ . τὸ ὃ am ελπίδος κρεμᾶται > € ~ ~ χνοΐην δ᾽ ὁποῖα prov εκ . podeyy ποίει παρειήν > , > ε A ~ ἐρύθημα δ, ὡς ἂν Αἰδοῦς, / / δύνασαι yap, ἐμποίῃσον. \ \ . (ὦ / ¥ τὸ δὲ χεῖλος οὐκέτ οἶδα , / ; ° τίνι μοι τρόπῳ ποιήσεις \ / ~ amanrov yewov te Πειθοῦς. \ \ ~ € \ > \N τὸ δὲ πᾶν ὁ κηρὸς αὑτὸς > | 4 ~ re EYETW AGAWY σιωπή. \ \ , f peta δὲ πρόσωπον ἔστω \ / \ tov ᾿Αδωνιδος παρελθὼν ἐλεφάντινος τράχηλος. 73 That the soul of every lover There ’twixt hope and fear may hover: In her cheek a blushing red Must by bashfulness be spread ; Such her lips, as if from thence Stole a silent eloquence : Round her face, her forehead high, Neck surpassing ivory ; 74 μεταμάζιον δὲ ποίει διδύμας τε χεῖρας Ἑρμοῦ, Πολυδεύκεος δὲ μηρούς, Διονυσίην δὲ νηδύν. ἁπαλὼν δ᾽ ὕπερθε μνηρῶν, μηρῶν τὸ πῦρ ἐχόντων, ἀφελῇ ποίησον αἰδῶ, Παφίην θέλουσαν ἤδη. φθονερὴν ἔχεις δὲ τέχνην, oT! μὴ τὰ νῶτα δεῖξαι δύνασαι" τὰ δ᾽ ἣν ἀμείνω. ᾿ τί we δεῖ πόδας διδάσκειν ; λάβε μισθὸν ὅσσον ebrys° τὸν ᾿Απόλλωνα δὲ τοῦτον καθελὼν ποίει Βαάθυλλον. ἦν δ᾽ ἐς Σάμον mor ἔλθῃς, γράφε Φοῖβον ἐκ Βαθύλλου. 75 But why all this care to make Her description need we take? Draw her with exactest art After Venus in each part; Or to Samos go, and there Venus thou mayst draw by her. AA Ai Mascas τὸν “E-w-2 δήσασαι στεῴα:ττιν τῷ Katies ταρέξωκα». καὶ viv ἡ Kerem ἔητεῖ, λύτρα φέρουσα, λύσασθαι τὸν Ἔ; puta. Kav λύσῃ δέ τις auTer, οὐκ ἔξεισι, μένει δέ" δουλεύειν δεδίδακται. 76 EIZ EPOQTA. XXX. ~ \ , Αἱ Μοῦσαι τὸν ᾿Ερωτα “ / δήσασαι στεφανοισιν ~ ’ / τῷ Καλλει παρεδωκαν. \ ad ε / kat νῦν ἡ Κυθερεια ~ / / Cytel, λύτρα φερουσα, \ / λύσασθαι τὸν “Epwra. a / / > # κἂν Avon δὲ τις αὑτὸν, 9 sf / ΝΕ οὐκ ἐξεισι, μένει δὲ δουλεύειν δεδίδακται. Has aa. 77 Love Imprisoned. XXX. LoveE, in rosy fetters caught, To my fair the Muses brought ; Gifts his mother did prefer To release the prisoner, But he’d not be gone though free, — Pleas’d with his captivity. 78 ΕΙΣ ΕΥ̓ΡΩ͂ΠΗΝ. ΧΧΧΙ. € ~ @ z ~ O ταῦρος οὗτος, ὦ Tal, Ζεύς μοι δοκεῖ τις εἶναι φέρει γὰρ ἀμφὶ νώτοις Σιδωνίαν γυναῖκα " περᾷ δὲ πόντον εὐρύν, τέμνει δὲ κῦμα χηλαῖς" οὐκ ἄν δὲ ταῦρος ἄλλος ἐξ ἀγέλης ἐλασθείς ἔπλευσε τὴν θάλασσαν, \ ’ > ~ εἰ μνῃ μόνος εκεῖνος. 79 Europa. ΧΧΧΙ. Tuis the figure is of Jove, To a bull transform’d by Love, On whose back the Tyrian Maid Through the surges was convey’d: See how swiftly he the wide Sea doth with strong hoofs divide ; He (and he alone) could swim, None o’ th’ herd e’er follow’d him. 80 ΕΙΣ TOYS EAYTOY EPQTA2S. AXXII. Ei φύλλα πάντα δένδρων ἐπίστασαι κατειπεῖν, εἰ κύματ᾽ οἶδας εὑρεῖν τὰ τῆς ὃ ANS θαλάσσης, σὲ τῶν ἐμῶν ἐρώτων μόνον TOW λογιστήν. πρῶτον μὲν εξ ᾿Αθηνῶν sof 3 ’ ερωτας εἶκοσιν θες, καὶ πεντεκαίδεκ ἄλλους " ἔπειτα, δ᾽ ἐκ Κορίνθου Loe ‘o> 9 . Ges ορμαθους epwrwy 9 εἶ / 9 Ayaing yap ἐστιν, ὅπου καλαὶ γυναῖκες. τίθει δὲ Λεσβίους μοι SI The Accompt. XXXII. ΙΕ thou dost the number know Of the leaves on every bough, If thou can’st the reckoning keep Of the sands within the deep ; Thee of all men will I take, And my Love’s accomptant make. Of Athenians first a score Set me down; then fifteen more; Add a regiment to these Of Corinthian mistresses, For the most renown’d for fair In Achzea sojourn there ; 82 καὶ μέχρι τῶν “lovey καὶ Καρίης “Ῥόδου τε δισχιλίους ἔρωτας. Ti dys; ἀεὶ κηρῷ θές, οὕπω Σύρους ἔλεξα, οὕπω πόθους Κανώβου, οὐ τῆς ἅπαντ᾽ ἐχούσης Κρήτης, ὅπου πόλεσσιν ΑΓ > / Epws εποργιάζει. τί σοι θέλεις ἀριθμῶ \ \ / > / καὶ τοὺς Γαδείρων ἐκτὸς, tS) 93 ~ τῶν Βακτρίων te K Ινδῶν, ψυχῆς ἐμῆς ἔρωτας 3 83 _ Next our Lesbian Beauties tell - Those that in Ionia dwell - Those of Rhodes and Caria count ; To two thousand they amount. Wonder’st thou I love so many Ὁ "Las of Syria we not any, Egypt yet, nor Crete have told, Where his orgies Love doth hold. What to those then wilt thou say Which in eastern Bactria, Or the western Gades remain ? But give o’er, thou toil’st in vain ; For the sum which thou dost seek Puzzles all arithmetic. 84 ΕΙΣ KOPHN. AXXITT. My με φύγῃς ὁρῶσα \ ee . τῶν πολιᾶν εθειρῶν μηδ᾽ ὅτι σοὶ πάρεστιν 3 3 ~ e/ ἄνθος akwatoy Bas, δῶρα Taya διώσῃ. e 3 ὁρῶ KaY στεφάνοισιν e ’ \ / πὼς πρέπει TH λευκᾶ ἐ; ’ / ῥβόδοις κρίνα πλακέντα. 85 [The Old Lover. XXXIII. THOUGH my aged head be grey, And thy youth more fresh than May, Fly me not; oh! rather see. In this wreath how gracefully Roses with pale lilies join: Learn of them, so let us twine. 86 ΕΙΣ EAYTON MEMEOYZMENON. XXXIV. / \ ’ “Ades με, τοὺς θεοὺς σοι, πιεῖν Tiew ὠμυστί᾽" “ ἤ -“ θελω θελω μανῆναι. / ἐμοίνετ ᾿Αλκμέων TE 3 / 3 / YW λευκόπους Opeotygs, \ , , . τᾶς μητερᾶς κτανόντες > AN \ / γ᾽ eyw δὲ μηδένα κτᾶς, \ > 5 \ x J πιων δ ερυθρὸν οἶνον ’ “ ~ θελω θέλω μανῆναι. ἐμαίνεθ Ἣρακλῆς πρίν \ ~ / δεινὴν κλονῶν φαρετρὴν \ / . kat τόξον ᾿Ιφίτειον 9 , \ 9/ εμνωίνετο πριν Alas 9 3 Ἅ poet ἀσπίδος κραδαίνων ᾿ τὴν Ἕκτορος μάχαιραν " 87 [The Vain Advice.] XXXIV. PRYTHEE trouble me no more; I will drink, be mad, and roar: Alcmzon and Orestes grew Mad, when they their mothers slew: But I no man having kill’d Am with hurtless fury fill’d. Hercules with madness struck, Bent his bow, his quiver shook ; Ajax mad, did fiercely wield Hector’s sword, and grasp’d his shield: 88 3 \ > 0 / eyw 0 ἔχων κύπελλον \ / ~ καὶ στέμμα τοῦτο YaiTais, 3 / 3 U ov τόξον ov μᾶχαιραν, θέλω θέλω μανῆναι. ΕΙΣ XEAIAONA. ΧΧΧν. Σὺ μὲν, φίλη χελιδών, ἐτησίῃ μολοῦσα θέρει πλέκεις καλιήν " χειμῶνι δ᾽ εἷς ἄφαντος q Νεῖλον ἢ “at Μέμφιν. Ἔρως δ᾽ ἀεὶ πλέκει μεὺ ἐν καρδίῃ καλιήν. 89 I nor spear nor target have, But this cup (my weapon) wave: Crown’d with roses, thus for more Wine I call, drink, dance, and roar. The Swallow. XXXV. GENTLE swallow, thou we know Every year dost come and go; In the spring thy nest thou mak’st ; In the winter it forsak’st, And divert’st thyself awhile Near the Memphian towers, or Nile: But Love in my suffering breast Builds, and never quits his nest ; 4 > ε \ . Ποθος 8 ὁ μὲν πτεροῦται, ε 9 9 3 9 4 ὃ © wov ἐστιν ἀκμὴν, ε 9 ε 0 ὃ ημίλεπτος ἡδη. \ \ / 3 23. ἢ Bon δὲ γίνετ αἰεί / ~ κεχηνότων νεοσσῶν. ~ \ 4 ᾿Ερωτιδεῖς δὲ μικροὺς ε / / οἱ μείζονες τρέφουσιν. \ ’ \ οἱ δὲ τραφέντες εὐθὺς / ’ / TAA κύουσιν ἄλλους. ~ z , τί μῆχος οὖν γένηται : 3 \ / / ov yap σθένω τοσούτους "E putas ἐκβοῆσαι. 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 fly Do their callow brethren feed, And grown up, they young ones breed. What then will become of me Bound to pain incessantly, Whilst so many Loves conspire On my heart by turns to tire ὃ. Q2 ΕΙΣ TO ANETQZ ZHN. XXXVI. Ti we τοὺς νόμους διδάσκεις καὶ ῥητόρων ἀνάγκας ; ’ / ’ 4 ti δὲ μοι λόγων τοσούτων, τῶν μηδὲν ὠφελούντων § μῶλλον δίδασκε πίνειν ἁπαλὸν πῶμα Avaiou ° μᾶλλον δίδασκε παίξειν μετὰ χρυσῆς ᾿Αφροδίτης. \ , , , πολιαί στεφουσι Kapay ¥ ¥ ~ Bar ὕδωρ, δὸς οἶνον, ὦ παῖ, τὴν ψυχήν μου κάρωσον. βραχὺ uy ζῶντα καλύπτεις᾽ ε \ > 93 ~ 0 θανων οὐκ επιθυμεῖί. 93 [Cheerful Living.| XXXVI. VEX no more thyself and me With demure philosophy : Hollow precepts, only fit To amuse the busy wit ; Teach me brisk Lyzeus’ rites ; Teach me Venus’ blithe delights ; Jove loves water, give me wine ; That my soul ere I resign May this cure of sorrow have ; There’s no drinking in the grave. 94 ΕΙΣ TO EAP. AXXVIT. Ἴδε πῶς ἔαρος φανέντος Χάριτες ῥόδα βρύουσι " De πῶς κῦμα θαλάσσης ἁπαλύνεται γαλήνῃ ᾽ν ἴδε πῶς νῆσσα κολυμβᾷ " ἴδε πῶς γέρανος ὁδεύει. ἀφελῶς δ᾽ ἔλαμψε Τίταν᾽" νεφελῶν σκιαὶ κλονοῦνται" τῶ βροτῶν δ᾽ ἔλαμψεν ἔργα [κωρποῖσι yaia προκύπτει. καρπὸς ἐλαίας προκύπτει: Βρομίου στέφεται νᾶμα" κατὰ φύλλον, κατὰ κλῶνα, θωλέθων ἤνθησε καρπός. d 95 The Spring. XXXVIT. SEE the Spring herself discloses, And the Graces gather roses + See how the becalmed seas Now their swelling waves appease ; How the duck swims, how the crane Comes from’s winter home again ; See how Titan’s cheerful ray Chaseth the dark clouds away ; Now in their new robes of green Are the ploughman’s labours seen: Now the lusty teeming Earth Springs each hour with a new birth; Now the olive blooms: the vine Now dath with plump pendants shine ; And with leaves and blossom now Freshly bourgeons every bough. 96 ΕΙΣ EAYTON. XAXVITI. 3 \ / 4 3 Eyw γέρων μέν εἰμι, ’ ’ \ “ e νέων πλέον δὲ πίνω A “ ’ κἂν δεησῃ με χορεύειν, \ * / Σειίληνὸν ev μέσοισιν ’ ’ μιμούμενος χορεύσω. ~ / \ ’ σκῆπτρον ἔχω τὸν ἀσκόν" / / ὁ δ᾽ οὐδὲν ἐσθ᾽ ὁ νάρθηξ. \ ’ / μὲν θέλων μάχεσθαι, Gan / \ 4 πωρέστω καὶ μαωχέσθω. ? \ ’ % ~ εμοι κυπελλον, ὦ παι, \ ¥ €qQ \ μελιχρὸν οἶνον ἥδυν 9 ’ eyKepacas opycoy. > \ / / ἔγω γέρων μεν εἶμι / -q ἢ \ [νέων πλεον δὲ πίνω]. * This line and the next stood at the end of the poem. change was made by Lachmann. The 97 [On Himself.| XXXVITI. Op 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 delight, Come, and with these arms let’s fight ; Fill the cup, let loose a flood Of the rich grape’s luscious blood ; Old I am, and therefore may, Like Silenus, drink and play. ΕΙΣ ZYMIIOZION. ΧΧΧΙΧ. ef > > A ἢ \ ¥ Or eyw πίω Tov οἶνον, fo 9 A ¥ 9 / TOT εμὸν roo tavOev , 4 tAryaivery ἄρχεται Μουσας. ͵.»»» / \ .} ΟΤ EYW πίω τὸν οἶνον, 3 / ἀπορίπτονται μέριμναι ’ “ ’ πολυφρόντιδες τε βουλαι 3 ε ’ὔ 5.7 ες αἀλικτυπους ἀήτας. ΟΦ» 5 \ / \ OT ἐγὼ πίω τὸν οἶνον, / / ’ λυσιπαίγμων tote Βακχος ’ 3 3 4 πολυανθεσιν ὦ εν αὑραις δονέει μέθῃ γανώσας. 99 [Frolic Wine.| XXXIX. Wuen I ply the cheering bowl, Brisk Lyzeus through my soul Straight such lively joy diffuses That I sing, and bless the Muses ; Full of wine I cast behind All my sorrows to the wind ; Full of wine my head I crown, Roving loosely up and down ; H 10O ¢es> 9 AN , \ y oT ἐγὼ πίω TOY οἶνον, / / ’ στεφάνους ἄνθεσι πλέξας, > / ~ ’ὔ ἐπιθεὶς τε τῷ καρήνῳ, / / / Biotov μέλπω γαληνὴν. e/ 5» 3 \ / Ἃ OT εγὼ πίω τὸν οἶνον, f > IN... / μύρῳ evwdei τεγξας ’ 3 ’ὔ \ ’ δέμας, ὠγκώλαις δὲ Koupyy / ’ 3 κατέχων, Κύπριν ἀείδω. Φ 5" 9 \ , \ ἣ oT εγω πίω τὸν οἶνον, e UN ~ \ ’ tumo κυρτὸϊς δὲ κυπελλοις \ > A ’ ε ’ troy εμὸν vooy amAwoas ’ ’ ’ θιάσῳ τερπομῶι κουρων. Γ᾽» » \ / \ ᾿ OT EW πίω TOY οἴνον, “φ« ἢ N ’ TOUTO μοι μόνον τὸ κέρδος, 3 \ \ > e ὃ τ eyw λαβων αποίσω \ ~ \ \ ’ τὸ θανεῖν yao μετῶ πάντων. ΙΟῚ Full of wine I praise the life Calmly ignorant of strife ; Full of wine I court some fair, And Cythera’s worth declare ; Full of wine my close thoughts I To my jovial friends untie: Wine makes age with new years sprout: Wine denied, my life goes out. ΕΙΣ EPOTA. XL. 4 3 3 e/ Ερως mot ev ρόδοισιν ’ὔ ’ κοιμωμενὴην μελιττῶν 93 % 9 > 9 / οὐκ εἶδεν, GAA ετρωθη \ , . tov δάκτυλον " rrataybeict \ ~ >. ἢ e Tas χεῖρας ὠλόλυξεν \ \ \ \ δραμὼν δὲ καὶ πετασθείς \ \ \ 4 πρὸς τὴν καλήν. Κυθηρὴν, -“ i ὄλωλα, μᾶτερ, εἶπεν, Ν >. ἢ . ολωλω καποθνήσκω + > Ψ \ opig fe ετυψε μικρὸς / \ oN TTEPWTOS, ὃν καλοῦσιν 4 e / JLEAITTOY οἱ ὙγεωρΎοι. ε 3 φ . 3 \ / ὦ δ᾽ εἶπεν " εἰ τὸ κέντρον ὦ \ ~ πονεῖ TO τᾶς μελίττας, 4 ~ -“ πόσον δοκεῖς πονοῦσιν, Ἔρως, ὅσους σὺ βάλλεις:;: 103 7, he Bee. XL. Love, a Bee that lurk’d among Roses saw not, and was stung: Who for his hurt finger crying, Running sometimes, sometimes flying, Doth to his fair mother hie, And O help, cries he, I die; A wing’d snake hath bitten me, Call’d by countrymen a Bee: At which Venus, If such smart A Bee’s little sting impart, How much greater is the pain, They, whom thou hast hurt, sustain ? ! 104 EIZ ΣΥΜΠΟΣΙΟΝ. XLI. ‘TAapot mi i por πίωμεν οἶνον, ἀνωμέλψομεν δὲ Βάκχον, \ 9 \ / Tov ἐφευρετῶν χορείας, \ e/ oN / τὸν oAag ποθουντα μολπᾶς, \ € / 9 , Tov omotpopoy Eowrtwy, τὸν ἐρώμενον Κυθηήρης᾽ δι᾿ ὃν ἡ μέθη λοχεύθη, > a ε ’ > / δι ὃν ἡ χάρις eTEeyby, δι᾿ ὃν ἀμπαΐεται λύπα, δι᾿ ὃν εὐνάζετ᾽ ἀνία. \ \ ᾿ .-“ θέ τὸ μὲν οὖν πώμα κερασθέν ἁπαλοὶ φέρουσι παῖδες" \ 3 4 “ “ τὸ ὃ ἄχος πέφευγε μιχθὲν ἀνεμοτρόφῳ θυέλλῃ. 105 [Praise of Bacchus.] XLI. WHILST our joys with wine we raise, Youthful Bacchus we will praise. Bacchus dancing did invent ; Bacchus 1s on songs intent ; Bacchus teacheth Love to court, And his mother how to sport ; Graceful confidence he lends; He oppressive trouble ends ; To the bowl when we repair, Grief doth vanish into air ; 106 \ \ ᾿ “ / TO μὲν οὖν πωμα λάβωμεν, \ \ ~ e tas δὲ φροντίδας μεθῶμεν “ “ 3 / \ / τί yap ἐστί σοι τὸ KEpdos ’ ἢ ͵ . ὀδυνωμένῳ μερίμνας § / \ / πόθεν οἴδωμεν TO μέλλον : ε “ 4 e ὁ βίος βροτοῖς ἀδηλος / / ’ μεθύων θελω χορευειν, \ / μεμυρίσμένος δὲ παίζειν \ \ ~ ~ . ETH καὶ καλων γυναικὼν / / ~ / μελέτω δὲ τοῖς θέλουσιν e/ 9 \ 9 ὅσον ἐστίν ἐν μερίμναις. ε \ / ω ἰλῶροι πίωμεν οἰνον, ἀναμέλψομεν δὲ Βάκχον. 107 Drink we then, and drown all sorrow; All our care not knows the morrow; Life is dark, let’s dance and play, They that will be troubled may ; We our joys with wine will raise, Youthful Bacchus we will praise. 108 EPOTIKON. XLII. Ποθέω μὲν Διονύσου φιλοπαίγμονος χορείας" φιλέω δ᾽, ὅταν ἐφήβου μετὰ συμπότου λυρίξω᾽" στεφανίσκους δ᾽ ὑακίνθων κροτάφοισιν ἀμφιπλέξας μετὰ παρθένων ἀθύρειν φιλέω μάλιστα πάντων. [φθόνον οὐκ oy ἐμὸν TOP, φθόνον οὐκ oda ᾿δαϊκτόν * φιλολοιδόροιο γλώττης φεύγω βέλεμνα κωφᾶ" στυγέω μάχας παροίνους. πολυκώμους κατὰ δαῖτας νεοθηλέσιν ἅμα κούραις ὑπὸ βαρβίτῳ χορεύων βίον ἥσυχον φεροίμνην. 109 [Merth.] XLII. I pivinE Lyzus prize, Who with mirth and wit supplies: Compass’d with a jovial quire, I affect to touch the lyre: But of all my greatest joy Is with sprightly maids to toy: My 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 debate : But I love a harmless measure ; Life to quiet hath no pleasure. [1ΙΟ ΕΙΣ ΤΕΤΤΙΓΑ. XLII. Μακαρίξομέν σε, τέττιξ, Ὁ > 9 wv ote δενδρέων ex ἄκρων x. / / i ὀλίγην δρῦσον πεπωκὼς \ ὦ 9 . βασίλευς ome αείδεις σὰ γάρ ἐστι κεῖνα, πάντα, ὁπόσα βλέπεις ἐν ἀγροῖς, ε, / Ω ὁπόσα τρέφουσιν ὕλαι. σὺ δὲ φιλία γεωργῶν amo μηδένας τι βλάπτων " \ \ / ~ συ δὲ τίμιος βροτοῖσιν, θέρεος γλυκὺς προφήτης " / " φιλέουσι μὲν σε Μοῦσαι, φιλέει δὲ Φοῖβος αὐτός, λιγυρὴν δ᾽ ἔδωκεν οἴμην. ITI The Grasshopper. XLITI. GRASSHOPPER thrice-happy! who Sipping the cool morning dew, Queen-like chirpest all the day Seated on some verdant spray ; Thine is all whate’er earth brings, Or the hours with laden wings ; Thee, the ploughman calls his joy, ‘Cause thou nothing dost destroy : Thou by all art honour’d; all Thee the spring’s sweet prophet cail ; By the Muses thou admir’d, By Apollo art inspir’d, [12 \ \ -“ Ν ͵ τὸ δὲ γῆρας ov σε τείρει, cope, γηγενής, φίλυμνε" 2 \ 3 3 / amabys δ, αναιμόσαρκε, \ 3 ~ ee σχεδὸν εἰ θεοῖς opotos. ONAP. XLIV. ᾿Εδόκουν ovap τροχάξειν πτέρυγας φέρων eT ὦμων ὁ δ᾽ Ἔρως ἔχων μοόλιβδον περὶ τοῖς καλοῖς ποδίσκοις ἐδίωκε καὶ κίχανεν. τί δ᾽ ὄναρ θέλει τόδ᾽ εἶναι ; δοκέω δ᾽ ἔγωγε πολλοῖς ἐν Ἔρωσί με πλακέντα διολισθάνειν μὲν ἄλλους, ἑνὶ τῷδε συνδεθῆναι. 113 Ageless, ever-singing, good, Without passion, flesh or blood ; Oh how near thy happy state Comes the gods to imitate! Zhe Dream. XLIV. As I late in slumber lay Wing’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 heart Though a thousand Loves had part, I shall now (their snares declin’d) To this only be confin’d. : 13 Er TA TOY ΕΡ.ῪΎΟΣ BEAH ALV. Ὃ avs τῆς Ky aye ὁ TNs frat ταρα Av u>.as5 καίώσσς a | 4 “- > g τα ery τα τῶν Eswroo Φ [4 2 a ~ | κε PAH C177 509. > > wv γΊ ακίῶας ὃ εξαττε Keres μέλ). τὸ ye KD λα,Ξεῖσα € ὁ δ᾽ Ἔρως “χηλὴν ἔμισγεν. ε δ᾽ w LY . » >= _ oe C Ἄρης Est εξ αὐτῆς - Q x7 Ὶ, e στιβαρον εξ κραδαώνων ᾿ > hw ν ἥελος Aten, = Epwrss δ᾽ "E . ’» > A φ PWS, τοῦ εστιν, εἴζεν, ye ~ , = ΄ » βαρυ" πειρασας νϑησεις. ν >? w ; ἐλαβεὲεν βελεμνον Δρῆς ε NO? 2 ὑπεμειδίασε Kurecis. > Ψ > Ie ὃ Δρῆς avacteracas, , ry. Ὁ > - βαρυ, φησιν" accy αὐτο. δ᾽ “Epox, ἔχ᾽ αὐτο, φησίν. 115 Love's Arrows. XLV. In the Lemnian forge of late ~ Vulcan making arrows sate, Whilst with honey their barb’d points Venus, Love with gall anoints: Armed Mars by chance comes there, | Brandishing a sturdy spear, And in scorn the little shaft Offering 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.” 116 ΕΙΣ EPQTA. XLVI. \ \ \ ~ Χαλεπὸν τὸ μὴ φιλησαι, \ \ _ A ~ χαλεπὸν δὲ Kal φιλῆσαι, , \ , χαλεπώτερον δὲ πάντων > / ~ ἀποτυγχάνειν φιλουντα. / 29 \ 9 of e γένος οὐδὲν εἰς Epwra / ~ e σοφίη, τρόπος πατεῖται ’ 3 “ μόνον ὥργυρον βλέπουσιν. > , ~ \ ATOAOITO TPWTOS αὑτὸς ε \ 7 / ὁ τὸν ἄργυρον φιλησας. ‘ φ ’ διὰ τοῦτον οὐκ ἀδελφὸς, \ ~ ~ e διῶ τοῦτον οὗ τοκῆες / ’ / πόλεμοι, φόνοι δι᾿ αὑτὸν. δ \ ~ έν. 7 τὸ ὃὲ χεῖρον, ολλύμεσθα \ ~ ~ δια τοῦτον οἱ φιλοῦντες. 117 Gold. XLVI. Nor to love a pain is deem’d, And to love’s the same esteem’d : But of all the greatest pain Is 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 won First to doat upon it; hence Springs ‘twixt brothers difference ; This makes parents slighted ; this War’s dire cause and fuel is: And what’s worst, by this alone τ Are we lovers overthrown. 118 ΕΙΣ TEPONTA. XLVIT. ᾧΦιλώ γέροντα τερπνόν, φιλῶ νέον χορευτάν᾽" av δ᾽ ὁ γέρων χορεύῃ, τρίχας γέρων μέν ἐστιν, τὰς δὲ φρένας νεάζξει. 119 [Youthful Eld.| XLVII. YounG men dancing, and the old Sporting I with joy behold ; But an old man gay and free Dancing most I love to see ; Age and youth alike he shares, For his heart belies his hairs. 120 ΕΙΣ AIONYZON. XLVIII. ε A 9 ’ 9 ~ O τὸν εν πόνοις ἀτειρὴ 4 3 / 3 ~ νεον, EY πότοις ἀτωρβῆή, \ 9 / / καλον ἐν πότοις γορευτὴν / \ ~ τελεων θεὸς κατῆλθεν, ε \ ~ I ἅπαλον βροτοῖσι φίλτρον / o / πόθον ἄστονον κομίζων, / 3 / \ 3 γόνον ἀμπέλου, τὸν olvoy / > » “ πεπεδημενον Ὑ ὁπώραις > A / / ET! κλημάτων φυλαττων, ω 9 e/ / 4 iv, ὁτῶν τεμῶωσι βότρυν, of / / ἄνοσοι MEVWO! πάντες, ὼ / / ἄνοσοι δεμιᾶας θεητον, o / “ ὥνοσοι γλυκυν τε θυμον, 3 , / of ες ETOus φανεντος aAdAov. IZ! [Wine the Healer.) XLVIII. Who his cups* can stoutly bear, In his cups despiseth fear, In his cups can nimbly dance, Him Lyzus will advance: Nectar of us mortals wine, The glad offspring of the vine, Screen’d with leaves, preserv’d within The plump grape’s transparent skin, In the body all diSeases, In the soul all grief appeases. * Stanley read “ ἐν πότοις. 122 ΕΙΣ AIZKON EXONTA A®POAITHN. XLIX. Mv / / ’ Apa τίς topevoe πόντον, ἄρα τίς μανεῖσα τέχνα > 4 ~ / e aveyeve κῦμα δίσκῳ: ἐπὶ νῶτα τῆς θαλάττης Ν / / \ apa τίς yapate AevKay ἁπαλᾶν ὕπερθε Κύπριν: νόος ἐς θεῶν ἀέρθη / / 3 / μακάρων φυσιος tapyay. e/ ~ / ’ ode νεῖν ederte γυμνᾶν, e \ / 3 ες: w ὅσω μή θέμις δ ορᾶσθαι, μόνα κύμασιν καλύπτει. 93 ’ > €e¢ 3 93 ~ ἀλαλημενη ὃ ὑπ ἀκτᾷ βρύον ὡς, ὕπερθε λευκὸν ε / ’ αἀπαλοχροοὸν γαλήνας δέμας εἰς πλόον φέρουσα, ῥόθιον πάροιθεν ελκει. 123 On a Basin wherein Venus was Engraved. XLIX. What bold hand the sea engraves, Whilst its undetermin’d waves In a dish’s narrow round Art's more powerful rage doth bound ? See, by some Promethean mind Cytherea there design’d, Mother of the deities, Expos’d naked to our eyes In all parts, save those alone Modesty will not have shown, Which for covering only have The thin mantle of a wave: On the surface of the main, Which a smiling calm lays plain, She, like frothy sedges, swims, And displays her snowy limbs: 124 podewy δ᾽ ὕπερθε μαζῶν ἁπαλῆς ἔνερθε δειρῆς μέγα κῦμα πρῷρα τέμνει. , 9 \ owt μέσον avadakos δὲ Κυπρις ’ ἃ 4 ς \ κρίνον ὡς tog ελιχθεν διαφαίνεται γαλήνας. ὑπερ ἀργύρῳ δ᾽ ὀχοῦνται ἐπὶ δελφῖσι χορευταῖς δολερὸν Πόθος μετώπωῳ, Ἔρος, Ἵμερος γελῶντες. χορὸς ἰχθύων τε κυρτὸς ἐπὶ κυμάτων κυβιστῶν Παφίης τὸ σῶμ᾽ ὀπάζει, / « iva νήχεται γελῶσα. 125 Whilst the foaming billow swells, As her breast its force repels, And her form striving to hide Her doth by her neck divide, Like a lily round beset By the purple violet. Loves, who dolphins do bestride, O’er the silver surges ride, And with many a wanton smile Lovers of their hearts beguile ; Whilst the people of the flood To her side, like wantons, scud. 126 EIZ POAON. L. Στεφανηφόρου μετ᾽ p06 μέλομιαι ῥόδον τέρεινον . 2. (ἀείδειν) σὺν δ᾽, ἕταιρ᾽, ἄεξε μέλπων. / \ ~ od Tobe yao θεὼν ana, , \ - \ , τὸδε Kal βροτῶν τὸ χάρμα, Χάρισίν τ᾽ ἄγαλμ᾽ ἐν ὧραις, πολυανθέων ᾿Ερώτων ἀφροδίσιόν τ᾿ ἄθυρμα. \ 4 / TOOE καὶ μέλημα μύθοις, , / ~ 6 χαρίεν φυτὸν te Movowy γλυκὺ καὶ ποιοῦντα πεῖραν 3 9 ͵ 9 ~ εν axavOivais atapirots 127 The Rose. L. WITH the flowery crowned spring Now the vernal rose we sing ; Sons of mirth, your sprightly lays Mix with ours, to sound its praise: Rose, the gods’ and men’s sweet flower ; Rose, the Graces’ paramour : This of Muses the delight, This is Venus’ favourite ; Sweet, when guarded by sharp thorns ; -- --,- - oa aw μαλακᾶσει χέει wemtacs LOBED - Ἔξουτε:: 2Ζ:.2::. ΄ * - > 4 ¥ e Ti δὲ ἅκο: τί Σ ἂν τὸ terry o ΨΚ « ” GOI ML TE KES TOATE BS a 3 € - σας 9. EtsTae },,ὰα rs, 2,2)... me - ye 26 ζω poe 292“ -- Zoe @ 4 ΝΕ 8 > Γ᾿ ξξζαχκτι)εως μεν Hers. ¢ 4 . -«Κ ρξππηζεες δε Νυμφῷαε, ΄ 4 4 > > [2 PY pHs δὲ κα Absa 4 -” -- ow παρὰ τῶν GHbwY καλειται. J « ow > σω τὸῦε καὶ VOGT GrKEL, 4 . “- > A τὸῦε καὶ VEK STIS AULWvEl, Φ᾽ 8 ΄ 5.2 e TOE καὶ “ρονὸν βιαται , {75 ἋΣ “- “αρίεν ρέων GE γήξας I ww 5, ὔ VEGTYTSS ἔσχεν οὐμη». 129 Sweet, when it soft hands adorns; How at mirthful boards admir’d! How at Bacchus’ feasts desir'd |! Fair without it what is born? Rosy-finger'd is the Morn ; Rosy-arm'd the nymphs we name; Rosy-cheek’d Love’s queen proclaim : This relief ’gainst sickness lends ; This the very dead befriends ; This Time’s malice doth prevent, Old retains its youthful scent. 130 φέρε δὴ, φύσιν λέγωμεν ᾿ χαροπῆς ὅτ᾽ ἐκ θαλάσσης δεδροσωμένην Κυθήρην ἐλόχευσε πόντος ἀφρῷ, πολεμόκλονόν τ Αθήνην κορυφῆς ἔδειξεν! ὁ Ζεύς, φοβερὰν θέαν ᾿Ολύμπῳ, τότε καὶ ῥόδων ὠγητὸν νέον ἔρνος ἤνθισε χθῶν, πολυδαίδαλον λόχευμα " μακάρων θεῶν δ᾽ ὅμιλος, ῥόδον ὡς γάνοιτο, νέκταρ ἐπιτέγξας ἀνέθηλεν ὠγέρωχον ἐξ ἀκάνθης φυτὸν ἄμβροτον Λναίου. 131 When Cythera from the main, Pallas sprung from Jove’s crack’d brain, ᾿ Then the rose receiv’d its birth _ From the youthful teeming earth ; _ Every god was its protector, Wat'ring it by turns with nectar, '. Till from thorns it grew, and prov’d Of Lyzeus the belov’d. 132 BOIAHNIOS YMNO= LI. Tey μελανέεωτα βέτρυν ταλᾶτως φέτασο ἄνδρες Q ° .* > wv “eT Taschen ες οὐδ, 2 N Ἃ ~N ~ κατα δ ΎῪΣΣ LE ὥᾶλεντες. » w “-- ἈΦ home Tatace > - » «Ὁ ota, ὅστε: τς. » “ >» Ὁ = ΛΑ ΤΙΣ OFT ΚΣ RITES Ἂ ΩΣ 7 me ἊΝ » ae - fre eT. KOT A Lal = fad Ane Ἂ ‘ >> ε πως ΚΑΤ, Beal Taua rey ~ . oe wa eyaTa Baca” 133 The Vintage. LI. MEN and maids at time of year The ripe clusters jointly bear To the press, but in when thrown, They by men are trod alone, Who in Bacchus’ praises join, Squeeze the grape, let out the wine: Oh with what delight they spy _ The new must when tunned work high! Which if old men freely take, Their grey heads and heels they shake ; 134 ὁ δὲ παρθένον λοχήσας ἐρατὸ ς νέος ἐλυσθεὶς ἁπαλὸν δέμας χυθεῖσαν σκιερῶν ὕπερθε φύλλων, βεβαρημένην ἐς ὕπνον, ἐς ἔρωτ᾽ ἄωρα θέλγει προδότιν γώμων γενέσθαι " ὁ δὲ μὴ λόγοισι πείθων τότε μὴ θέλουσαν ἄγχει" peta γὰρ νέων ὁ Βάκχος / of / μεθύων araxta παίζει. 135 And a young man, if he find Some fair maid to sleep resign’d In the shade, he straight goes to her, Wakes, and roundly ‘gins to woo her ; Whilst Love slily stealing in Tempts her to the pleasing sin: Yet she long resists his offers, Nor will hear whate’er he proffers, Till perceiving that his prayer Melts into regardless air, Her, who seemingly refrains, He by pleasing force constrains ; Wine doth boldness thus dispense, Teaching young men insolence. 136 ΕΙΣ EAYTON. 1,11. Ὅτ᾽ ἐγὼ νέων ὅμιλον ἐσορῶ, πάρεστιν ἥβα" τότε δή, τότ᾽ ἐς χορείην ὁ γέρων ἐγὼ πτεροῦμαι. περιμαίνομαι, Κυβηβα" παράδος " θέλω στέφεσθαι " πολιὸν δὲ γῆρας ἐκδὺς νέος ἐν νέοις χορεύσω, Διονυσίης δέ μοί τις φερέτω poay ὁπώρῆς, ἵν ἴδῃ γέροντος ἀλκὴν δεδωηκότος μὲν εἰπεῖν, δεδωηκότος δὲ πίνειν, χαριέντως δὲ μανῆναι. 137 [On Himself.) 1,1]. WHEN I see the young men play, Young methinks I am as they; And my aged thoughts laid by, To the dance with joy I fly: Come, a flowery chaplet lend me; Youth and mirthful thoughts attend me: Age be gone, we'll dance among Those that young are, and be young: Bring some wine, boy, fill about ; You shall see the old man’s stout ; Who can laugh and tipple too, And be mad as well as you. 138 EIZ TOYZ EPQNTAZ. LITT. 3 3 , \ oe Ey ἰσχίοις μὲν ἵπποι πυρὸς χάραγμ᾽ ἔχουσιν ; καὶ Παρθίους τις ἄνδρας ἐγνώρισεν τιάραις. ἐγὼ δὲ τοὺς ἐρῶντας sy (AN 9 ͵ > In!’ ,. ἰδων επίσταμν εὐθυς ἔχουσι yap τι λεπτὸν ψυχῆς ἔσω χάραγμα. 139 [Love's Mark.] LITI. HorsEs plainly are descry’d By the mark upon their side: Parthians are distinguished By the mitres on their head : But from all men else a lover I can easily discover, For upon his easy breast Love his brand-mark hath imprest 140 ΠΡΟΣ ΖΩΓΡΑΦΟΝ. LIV. "Aye ζωγράφων ἄριστε, λυρικῆς ἄκουε μούσης " φιλοπαίγμονες δὲ Βάκχαι ἑτεροπνόους ἐναύλους γράφε τὰς πόλεις τὸ πρῶτον ἱλαράς τε καὶ γελώσας. € aN \ aA / ὁ δὲ κηρὸς ὧν δύναιτο, γράφε καὶ νόμους φιλούντων. 141 [Justructions to a Painter.] LIV. - Best of painters come, pursue What our Muse invites thee to, And Lyzus, whose shrill flute Vies with her harmonious lute; Draw me a full city, where Several shapes of mirth appear ; And the laws of love, if cold Wax so great a flame can hold. 142 AAAO QAAPION. LV. Δότε μοι λύρην᾽ ‘Opmpou coving ἄνευθε χορδῆς " φέρε μοι κύπελλα θεσμῶν, φέρε μοι νόμους, κεράσσω, μεθύων ὅπως χορεύσω, ὑπὸ σώφρονος δὲ λύσσης μετὰ βαρβίτων ἀείδων \ / / To παροίνιον βοήσω. 143 [Wine and Song.| LV. BRING me hither Homer’s lute, Taught with mirth (not wars) to suit ; Reach a full cup, that I may All the laws of wine obey, Drink, and dance, and to the lyre Sing what Bacchus shall inspire. NOTE. THE foregoing fifty-five pieces constitute the Odes of Anacreon in the Editio Princeps of Henricus Stephanus (Paris, 1554). The Palatine MS., from which Stephanus drew (sce Introduction), contains a few additional Anacreontic poems. Some of these were excluded by Stephanus ; others were printed separately in smaller type. Stanley did not include any of the additional pieces in his translation. In the Palatine MS. the Anacreontea (Ἀνακρέοντος Titov συμποσιακὰ ἡμιάμβια) open with the following poem, which Stephanus silently rejected (as being written about, not by, 144 Anacreon), but which he afterwards printed in his Pzndar, 1560 (p. 406), under the heading “Incerti Autoris de Anacreonte.” ᾿Ανακρέων ἰδών me ὁ Τήϊος μελῳδὸς ὄναρ λέγων προσεΐπεν᾽ κὠγὼ δραμὼν πρὸς αὐτὸν περιπλάκην φιλήσας. γέρων μὲν ἦν, καλὸς δέ, [καλός γε καὶ φίλοινος τὸ χεῖλος ὦξεν οἴνου, τρέμοντα δ᾽ αὐτὸν ἤδη Ἔρως ἐχειραγώγει. ὁ δ᾽ ἐξελὼν καρήνου ἐμοὶ στέφος δίδωσιν " τὸ δ᾽ wl” ᾿Ανακρέοντος. ἐγὼ δ᾽ ὁ μωρὸς ἄρας ἐδησάμνην μετώπῳ " καὶ δῆθεν ἄχρι καὶ νῦν > ’ ἔρωτος OU πεπαυμοι. 145 The Dream. In a dream unto me came Anacreon, of Teian fame. He accosted me, and I Ran 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 5) Crowned was his brow, and he Held the garland out to me. Of Anacreon it breath’d : Straight my forehead (fool !) I wreath’d ; And from that time till to-day I by love am plagued alway. THE following piece, No. 20 in the Palatine MS., was excluded by Stephanus, as being about (not by) Anacreon. Ἡδυμελὴς ᾿Ανακρέων, ἠδυμελῆς de Σαπφώ᾽ Πινδαρικὸν τόδε μοι μέλος συγκεράσας τις ἐγχέοι. τὰ Tpia ταῦτά μοι δοκεῖ καὶ Διόνυσος ἐλθὼν, καὶ Παφίη λιπαρόχροος, > A of 93 9 ~ καυτὸος Epwso ἂν εκτπιειν. 149 The Bowl of Song. SWEET the song Anacreon sings, Sweet notes flow from Sappho’s strings: Pindar’s strains, their sweets among, Add, to crown the bowl of song. Such a triple charm would sure Dionysus’ lips allure ; Paphos’ sleek-skinn’d queen would deign, Or Love’s self, the cup to drain. 150 THE next poem, No. 41 in the Palatine MS., was relegated by Stephanus to the Appendix. ΕΙΣ TO EAP HTOI KAAOKEPIN. \ ’ > Ti καλὸν εστι βαδίζειν, / ~ ~ ὅπου λειμῶνες κομῶσιν, e \ ε / ὅπου λεπτὴν ηδυτάτην 3 ~ / 9 ἀνώπνει Ζεφυρος αὐὑρὴν, ~ \ ’ ~ κλῆμα τὸ Baxyesoy ἰδεῖν, > N \ ’ ~ yuna τὰ πεταλα δῦναι, ε \ / ἁπαλὴν παῖδα κατέχων, ; e/ / . Kump ὁλὴν mveovcay. 151 Spring. PLEASANT [15 abroad to stray Thro’ the meadow deep in hay, Where soft zephyrs, breathing low, Odorous sweets around us throw ; Pleasant, where the gadding vine Weaves a safe shade, to recline With some dainty girl whose breast Cypris wholly hath possest. 152 THE next piece, No. 58, is more than usually corrupt. I have rendered part of it; but towards the end the text becomes hopeless. ΕΙΣ XPYZON. Ὁ δραπέτας ὁ χρυσός, ὅταν φύγῃ με κραιπνοὶς διηνέμοις τε ταρσοῖς, ἀεὶ δ᾽, ἀεί με φεύγει" οὔ μιν διώκω" τίς γὰρ μισοῦν θέλει τι θηρᾶν: ἐγὼ δ᾽ ἄφαρ λιασθεὶς [τῷ δραπέτῳ τῷ χρυσῷ) ἐμῶν φρενῶν μὲν αὔραις φέρειν ἔδωκα λύπας, λύρην δ᾽ ἑλὼν ἀείδω ἐρωτικᾶς ἀοιδᾶς. πάλιν δ᾽ ὅταν me θυμὸς ὑπερφρονεῖν διδάξῃ, ἄφνω προσεῖφ᾽ ὁ δραπέτας, φέρων μέθαν! μοι φροντίδων, 153 Runaway Gold. ‘WHEN with soft and viewless feet Like the wind, and no less fleet, Flies me, as he flies alway, Gold, that arrant Runaway, I pursue not: who is fain To hunt home a hateful bane? Free from Runaway Gold, my breast Is of sorrow dispossest : I, to all the winds that blow, All my cares abroad may throw: I may take my lyre and raise Jocund songs 1n Cupid’s praise. When my wary sprite disdains To be trapped by Runaway’s trains, Suddenly he hies unto me And with trouble would undo me ; 154 e ’ὔ ε ° / EAwy μιν ὡς mweOnmwy λύρης γένωμαι λάρου. Τ ἀπιστ᾽ ἄπιστε χρυσέ, μάταν δόλοις με θέλγεις " χρυσοῦ πλέον τὰ νεῦρα πόθους κέκλυθι: ἄδειϊ. σὺ γὰρ δόλων, σύ to φθόνων ἔρωτ᾽ ἔθηκας ἀνδράσιν ᾿ / > oo t / λύρη ὃ aAvTa παστάδων φιλαμάτων τε κεδνὼν πόθων κύπελλα κιρνᾶ. ὅτων θέλῃς δέ, φεύγεις " λύρης δ᾽ ἐμῆς aoday 3 Δ / / οὐκ ἂν λίποιμι τυτθὸν. t ξείνοισιν σὲ δ᾽ ἀγχιμουσῶν t δολίοις ἀπίστοις ἀνδάνεις " 9 \ \ « ’ ἐμοῖ δὲ τῷ AvpoKTUTY μούσαις φρεσὶν ἀποίκους ἀχανδέας ὃ ρίνεις talyAay τε λαμπρύνοις. 155 Hoping that himself 11] take And my darling lyre forsake. Faithless Gold, thy labour’s naught ; By thy snares I'll not be caught. More delight than Gold doth bring I can gain from my lute-string. Thou men’s hearts didst sow with guile, And with envy them defile ; But the lyre... .. THE following piece, No. 60, concludes the Asacreontea in the Palatine MS. Bergk makes a separate poem of Il. 24-36 (ἄγε θυμέ, πῆ μέμηνας x«.7.r., ON page 158), which seem to have little connection with the preceding lines. The thing is of little merit, whether it be one poem or two; and may well be left untranslated. ΕΙΣ ATIOAAQNA. "Ava βάρβιτον δονήσω᾽ μή \ 3 / αεῦλος μὲν οὐ πρόκειται, > ΜΓ \ μελέτη ὃ επεστι πᾶντι ’ 3 ΓΜ σοφίης AayovtT ἄωτον. ἐλεφαντίνῳ δὲ πλήκτρῳ λιγυρὸν μέλος κροαίνων Φρυγίω ῥυθμῷ βοήσω, 157 e ’ of ate τις κυκνος Kavotpou μ ~ ’ ποικίλον πτεροισι MEAT WY > J ,᾿ > ως ἄνεμου συναυλος YYY \ ’ .-ῳ ’ . συ δε, Μοῦσω, συγχόρευε ἱερὸν γάρ ἐστι Φοίβου κιθάρη δάφνη τρίπους τε. λαλέω. δ᾽ ἔρωτα Φοίβου > , ee . ἀνεμώλιον τὸν oloT POY ἢ , 9 po σαοῴρων Yap ETT! κουρῶ \ \ 3 ’ ’ τὸ μὲν EKTEDEVYE κέντρον, φύσεως δ᾽ ἄμειψε μορφῆν, φυτὸν εὐθαλὲς δ᾽ ἐπήχθη" ~ % ω ὃ δὲ Φοῖβος ye, Φοῖβος κρατέειν κόρην νομίζων, χλοερὸν δρέπων δὲ φύλλον ἐδόκει τελεῖν Κυθηρην. 158 43 4 ~ 4 ἄγε θυμε, πῇ μείνηνας μανίην μανεὶς ἀρίστην § τὸ βέλος, φέρε, κράτυνον, σκοπὸν ὡς βαλὼν ἀπέλθῃς᾽᾿" τὸ δὲ τόξον ᾿Αφροδίτης 4 va \ > " ἄφες, ᾧ θεοὺς ενίκα. τὸν ᾿Ανακρέοντα μιμοῦ, \ > / ’ , τὸν αοἰδιμον μελιστην. φιάλην πρόπινε παισίν, φιάλην λόγων ἐραννήν.. ἀπὸ νέκταρος ποτοῖο παραμύθιον λαβόντες, φλογερὸν φυγόντες ἄστρον 159 AMONG the Anacreontea Bergk includes the three following fragments :— 4 “4 4 ᾿ Me ~ Dep ὕδωρ, hep olvov, ὦ Tal, P P> PEP ἢ / \ ἢ . μεθυσὸν μὲ καὶ κάρωσον \ / “ τὸ ποτήριον λέγει μου, / ~ “ ποδαπὸν μὲ δεῖ γενέσθαι. ORIGENES (HIPPOLYTUS) adv. Haeret, p. 107, ed. Miller (60 Bergk). / / \ / . Ti μὲ φεύγεις τὸν γεροντῶ SCHOL. Cod. Gud. EuRIp. Hec. 1141 (61 Bergk). , ’ \ / Δοκέει κλύειν yao ἥδε, , , λαλέειν τις εἰ θελήσει. GREGOR. (ΟΕ. p. 396 (62 Bergk). ANACREON. IT. GENUINE FRAGMENTS. The genuine fragments of Anacreon are here arranged as in the fourth edition (1882) of Bergk's Poetz Lyrici Greci; and Bergk's text has been generally followed. I. ΕΙΣ APTEMIN. Γουνοῦμαί σ᾽, ἐλαφηβόλε, ξανθὴ mai Διός, ἀγρίων δέσποιν Αρτεμι θηρῶν " ἥ κου νῦν ἐπὶ Ληθαίου δίνῃσι θρασυκαρδίων ἀνδρῶν ἐσκατορῷς πόλιν οὐ γὰρ ἀνημέρους ποιμαίνεις πολιήτας. χαίρουσ᾽ HEPHAST. 125. I.—l. 4, Others read ἵχκου, and in 1. 6, ἐγκαθόρα- 164 Il. ΕΠΣ AIONYZON. *Quvaé, ᾧ δαμάλης Ἔρως καὶ Νύμφαι κυανώπιδες πορφυρέη T ᾿Αφροδίτη συμπαίξουσιν " ἐπιστρέφεαι δ᾽ ὑψηλῶν Kopupag ὀρέων, γουνοῦμαί σε σὺ δ᾽ εὐμενής 33. , εω 3 EAD ημῖν, κεχαρισμένης ὃ εὐχωλῆς ἐπακούειν. Κλευβούλῳ δ᾽ ὠγαθὸς γενεῦ , . Vr en > # 3 συμβουλος " τὸν ἐμὸν δ ἔρωτ, ¥ , , ὦ Δεύνυσε, δέχεσθαι. DIo CHRYS. Or. ii. 2. i. 35. IIT. Κλευβούλου μὲν ἔγωγ᾽ ἐρῶ, Κλευβούλῳ δ᾽ ἐπιμαίνομοαι, \ , Κλεύβουλον δὲ διοσκεω. HEROD. περὶ σχημ. 57, 5. Π|.---Ἱ, 3, διοσκέω, Bergk. (MSS. διὸς κνέων, and δὲ διοσκνέω.) IV. ¥ ~ , / Ω rai παρθενιον βλέπων, A ~ δίζημαί σε, σὺ δ᾽ οὐ κοεῖς, > \ ἢ e ~ > «ww οὐκ εἰδως, OT! τῆς EMS ~ / ψυχῆς yuloyevels. ATHEN. xiii. 564, D. IV.—l. 2, xoeis, Bergk (MSS. ἀΐεις). 166 V. ᾿Αλλ᾽ ὦ τρὶς κεκορημένε > wepoin. EusT. Od. 1542, 47. VI. Meis μὲν dy Ποσιδηϊὼν ἐστηκεν, νεφέλας δ᾽ ὕδωρ βαρύνει, Δία τ ἄγριοι χειμῶνες κατάγουσιν. SCHOL. //. xv. 192; EustT. //. 1012. 1. VIT. Σὺ yap ἧς ἔμοιγ᾽ ἀστεμφής. SCHOL, 72. iii. 210. VI—ll. 2, 3. So Bergk, comparing Hor. Efod. xiii. 2, “‘Nivesque deducunt Jovem.” Schol. //., νεφέλη δ᾽ ὕδωρ βαρὺ δ᾽ ἄγριοι χειμῶνες κατάγουσι. Eust, νεφέλαι δ᾽ ὕδατι βαρύνονται, ἄγριοι δὲ χειμῶνες παταγοῦσιν. 167 VIII. Ἐγὼ δ᾽ οὔτ᾽ av ᾿Αμαλθίης βουλοίινην κέρας, οὔτ᾽ ἔτεα πεντήκοντώ τε καὶ ἑκατὸν Ταρτησσοῦ βασιλεῦσαι. STRABO, iii. 151. IX. , , . . . Ti μὴν πετεαι / / συρίγγων κοιλοτερᾶ Ἷ ’ ὔ στηθεα χρισάμενος μυρῳ: ATHEN. xv. 687 E. X. e \ , ὁ δ᾽ ὑψηλὰ νενωμενος. Et. ΤΠ. 601, 20. IX.—In 1. 1, Bergk reads, Τί λέην, and in |. 2, κοϊλώτερα. 168 XI. ' Πολλὰ δ᾽ ἐρίβρομον Δεύνυσον. Et. M. 259, 28. AIT. A. 7s 9 \ ε \ / Out εμὴν ἀπαλὴν Kaci. | ScCHOL. Eur. Hee. 361. AIT. B. A / Wf / ευκίππων emt δίνεαι. Et. Flor. Miller, Misc. 208. XIII. A. Ἔρως παρθένιος πόθῳ μ \ / στίλβων Kal γεγανωμένος. PLUTARCH. 5 γοΐ. c. 4. XIII. A.—The passage of Plutarch runs thus: Οὕτως ἔρως ὁ γνήσιος ὁ παιδικός ἐστιν, οὐ πόθῳ στίλβων, ὡς ἔφη τὸν παρθένιον ᾿Δνακρέων, οὐδὲ μύρων ἀνάπλεως καὶ γεγανωμένος, ἀλλὰ λιτὸν αὐτὸν ὄψει καὶ ἄθρυπτον ἐν σχολαῖς φιλοσόφων. We may extract three verses from this passage by reading with Pomtow (Poete Lyr. Graec. Min. i. 301)— "Epws παρθένιος πόθῳ στίλβων (αἰὲν) ἀνάπλεως μύρων καὶ γεγανωμένος. 169 XIII. B. Οὗτος δηύτε Θαλυσίοις A τίλλει τοὺς κυανασπίδας. [?] Et. Flor. Miller, Mise. 266. XIV. Σφαίρῃ δηῦτέ με πορφυρέῃ βάλλων χρυσοκῦ uns Ἔ pars νήν! ποικιλοσαμβάλῳ συμπαίζειν προκαλεῖται" ε 3 9 \ \ > 9 ) ͵ ἡ ὃ, ἐστιν yao an εὐκτίτου Δ , \ \ 9 \ , ἐσβου, τὴν μὲν Eun Koumny, \ / ’ λευκῇ Yap, καταμεέμφεται, \ 24, \ ’ πρὸς δ᾽ ἄλλον τινὰ χάσκει. ATHEN. xiii. 599 C. ΧΙΝ.---ποικιλοσαμβάλῳ in 1. 3, is Seidler’s happy correction for ποικίλος λαμβάνω (or ποικίλους ἀμβάλα). 170 XV. Οὐδ᾽ εὐπέμπελός εἰμι, οὐδ ἀστόϊσι προσηνής. CHRYSIPP. περὶ ἀποφατικῶν C. 22. XVI. Μυθῖτα, (δ) ἀνὰ νῆσον, J Meyiory, διεπουσιν ἱρὸν ἄστυ (Νυμφέων.) SCHOL. Od. xxi. 71. XVII. 9 ’ \ 9 ’ Ηρίιστησα μεν itpiou ~ \ 3 ’ λεπτοῦ μικρὸν αποκλᾶς, οἴνου δ᾽ ἐξέπιον κάδον, ~ 3 ς eo > J νῦν ὃ αβρῶς Eepoecoay ψάλλω πηκτίδα τῇ φίλῃ κωμάξων παϊδὶ ἁβρῇ. HEPHAST. 59; ATHEN. xi. 472 E. XV.—Bergk (who®reads Ov Snir’ ἔμπεδος) suggested Οὐδ᾽ εὐπέμπελος as a correction for ov δεῦτε ἔμπεδος. 171 XVII. Ψάλλω δ᾽ εἴκοσι (Λυδίην) χορδῇσιν μωγάδην ἔχων, ὦ Λεύκασπι, σὺ δ᾽ ἡβᾷς. ATHEN. xiv. 634 (. XIX. ᾿Αρθεὶς δηὖτ᾽ ἀπὸ Λευκάδος πέτρης ἐς πολιὸν κῦμω κολυμ-, ~ ’ ΨΥ Ba μεθύων ἐρωτι. HEPHAST. 130. XX. / 3 / . τίς ἐρασμίην / \ 3 ¢/ / τρέψας θυμὸν ες ἥβην τερένων ε / e 3 > ~ ημιόπὼν vir avAwy 0 PUELTAL 5 ATHEN., iv. 177 A. 172 XXI. ΕΙΣ APTEMONA. Ξανθῇ δὲ γ᾽ ἙΕὐρυπύλῃ μέλει ὃ περιφόρητος ᾿Αρτέμων. πρὶν μὲν ἔχων βερβέριον, καλύμματ᾽ ἐσφηκωμένα, καὶ ξυλίνους ἀστραγάλους ἐν ὠσί, καὶ ψιλὸν περὶ πλευρῇσι (δέρμ᾽ ἤει) βοός, νήπλυτον εἴλυμα κακῆς ἀσπίδος, ἀρτοπώλισιν κἀθελοπόρνοισιν ofl λέων ὃ πονηρὸς ᾿Αρτέμων, κίβδηλον εὑρίσκων βίον" 173 \ \ \ \ TOAAG μὲν ἐν δουρὶ δεθεὶς / \ “ αὐχένα, πολλῶ δ᾽ ἐν τροχῷ, \ \ φῳ πολλὰ δὲ νῶτον σκυτίνῃ / / μάστιγι θωμιχθείς, Kopny / / πώγωνα τ᾽ EKTETIAMEVOS. νῦν δ᾽ ἐπιβαίνει σατινέων, / / χρύσεω φορέων Kalepmata Ine UA \ / mais Kuxys, καὶ σκιαδί- σκην ἐλεφαντίνην (a8pais) “ \ e φορεῖ γυναιξίν αὕτως. ATHEN. xii. 533 E. XXIT. Σίμαλον εἶδον ev χορῷ > + / πηκτίδ ἐχοντῶ καλήν. HEPHAST. IOI. AXITI. Ἔκ ποταμοῦ ᾿πανέρχομαι / , , πάντα φερουσα λαμπρα. HEPHAST., 52. 174 XXIV. ᾿Αναπέτομοι δὴ πρὸς Ολυμπον πτερύγεσσι κούφαις διὰ τὸν "Ἔρωτ᾽" οὐ yap ἐμοὶ παῖς ἐθέλει συνηβᾶν. HEPHAST. 52; SCHOL. AR, Av. 1372. XXV. wees» (Epws), ὡς μ᾽ ἐσιδὼν γένειον ὑποπόλιον χρυσοφαέννων πτερύγων ἄήταις παραπέτεται. LUCIAN. Herc. Gall. ς. 8. XXXVI. Χεῖρά τ᾿ ἐν yyavw βαλεῖν. ΑΤΗΕΝ. vi. 229 Β. XXV.—Restored by Bergk from the following passage of Lucian: Ὥστε ἰσχὺς μὲν καὶ τάχος καὶ κάλλος καὶ ὅσα σώματος ἀγαθὰ χαιρέτω, καὶ ὁ "Ἔρως ὁ σὸς, ὦ Τήϊε ποιητά, ἐσιδών με ὑποπόλιον γένειον χρυσοφαέννων εἰ βούλεται πτερύγων ἢ ἀετοῖς παραπετέσθω. Ἥλιε καλλιλαμπέτη. PRISCIAN. vii. 7. XXVIII. ᾿Ασπίδα ρίψας ποταμοῦ καλλιρόου παρ᾽ ὄχθας. ATTIL. FORTUNAT. 359. XXIX, o φᾧΦ ’ ᾿ ... Ἔγω δ᾽ am αὑτῆς φύγον ὥστε / κοκκυξ. Et. Gud. 333, 22. XXX. Tov μυροποιὸν yoouny Στράττιν ei ’ κομήσει. HEPHAEST. 96. XXIX.— Αὐτῆς is Schneidewin’s correction of αὐτῆς. Bergk gives airis. Nos, XXVIII. and XXIX. evidently belong to the same poem. 176 XXXI, / , Δακρυδεσσάν + ἐφίλησεν αἰχμάν. HEPHAST. 52. XXXII. ᾿Ωινοχόει δ᾽ ἀμφίπολος μελιχρὸν ¥ / , " οἶνον, τρικύωθον κελεβὴν εχουσα. ATHEN. xi. 475 F. XXXITT. Οὐδ᾽ ἀργυρέη κω τότ᾽ ἔλαμπε Πειθώ. SCHOL, PIND. Jsthm. ii. 9. XXXIV. ΕἾἶμι λαβὼν ἐς Ἥρης. ΑΤΤΙΙ. FORTUNAT. 359. XXXIIL—Es “Ἥρης, Bergk’s doubtful emendation of εἰσάρας. 177 XXXV. Ἵπποθό pov δὲ Μυσοί ς ~ ~ 9 . s Ψ εὑρεῖν, μῖξιν ovwy πρὸς ἵππους.["] 5ΟΗΟΙ, 72 xxiv. 278. XXXVI. “Ὁ . ’ Aiveraby πατρίδ᾽ ἐπόψομοαι. SCHOL. Od, xii. 313. XXXVIT. . Χήλινον ἄγγος. Ν “ 3 “ / εχὸν πυθμενας arypiwy σελίνων. POLLUX, vii. 172. XXXVITI. > , e uA ε / ~ Ασήμων ὑπερ ερμάτων φορευμοαι. HESYCH. v." Eppa. N 178 XXXIX. Πλεκτὰς δ᾽ ὑποθυμίδας \ / a περὶ στήθεσι λωτίνας εθεντο. ATHEN. xv. 674 1). XL. Σὲ γάρ oy Ταργήλιος ἐμμελέως δισκεῖν. APOLLON. de Synt. 238. XLI. Ὁ Meylorys δ᾽ ὁ φιλόφρων δέκα dy μῆνες, ἐπεί τε “ωὠώὦ, ; \ , , στεφανουταί τε λύγῳ καὶ τρύγα πίνει μελιηδέα. ATHEN. xv. 671 E. XLIT. Kabapy δ᾽ ἐν κελέβῃ πέντε (τε) Kal τρεῖς ἀναχείσθων. ATHEN. x. 430 Ὁ. 179 XLII. Πολιοὶ μὲν ἡμὶν ἤδη κρόταφοι Kapy τε λευκὸν, , 9 > / e/ χαρίεσσα δ᾽ ouxed ἥβη / > 27 Tapa, γηράλεοι δ᾽ ὀδόντες. re 9 > J \ γλυκεροῦ 8 οὐκέτι πολλος ; ἢ ; . βιότου χρόνος λέλειπται Α ~ 9 9 ia ταῦτ ἀνασταλύζω θαμὰ Τάρταρον δεδοικώς. ᾿Αἴδεω γάρ ἐστι δεινὸς μυχός, ἀργαλέη δ᾽ ἐς αὐτὸν κάθοδος " καὶ γὰρ ἑτοῖμον καταβάντι un ἀναβῆναι. 5ΤΟΒ. Floril. c. xviii. 13. XLIV. Ἔραμαι (δέ) τοι συνηβᾶν " χαριτεῦν ἔχεις yap ἤθος. MAX. TYR. xxiv. 9. N 2 180 XLV. Ἔμε yap (νέοι) λόγων ef- νεκὼ παῖδες ἂν φιλοῖεν᾽ χαρίεντα μὲν γὰρ ᾧδω, χαρίεντα δ᾽ οἶδα λέξαι. MAX. TYR. xxiv. 9. XLVI. [A] στραγάλαι δ᾽ “Epwros εἶσιν μανίαι τε καὶ κύδοιμοι. ScHOL. 22. xxiii. 8. XLVIT. ΠΡΟΣ ΣΜΕΡΔΙΗΝ. Μεγάλῳ δηΐτέ μ᾽ Ἔρως ἔκοψεν ὥστε χαλκεὺς πελέκει, χειμερίῃ ὃ ἔλουσεν ἐν χαράδργῃ. HEPHAST. 68. 181 XLVITI. ᾿Απέκειρας δ᾽ ἁπαλῆς Kops ἄμωμον ἄνθος. PHAVOR. ap, STOB. Flor. lvi. 6. XLIX. Opykiny ciovta χαίτην. Et. M. 714, 38. L. 3 “ / >. Απὸ μοι θανεῖν γενοιτ 3 \ A 3 ov yap ὧν ἄλλῃ “ 3 / 3 λύσις εκ πόνων YEvolT 3 \ ~ ovlaua τῶνδε. HEPHASST. 69. LI. ᾿Αγανῶς οἷώ te νεβρὸν [νεοθηλέα] yarabyvov, oor ἐν ὕλῃς κεροέσσης ἀπολειφθεὶς ὑπὸ μνητρὸς ἐπτοήθη. ATHEN. ix. 396 D. 182 LIT. Σινάμωροι πολεμίξουσι θυρωρῷ. Et. M. 713, 26. LIITI. \ / 3 / of Σικελὸν KOTTABOY ὠγκυλῃ παίζων. ATHEN. x. 427 D. LIV. ’ Ἔπι δ᾽ ὀφρύσιν σελίνων στεφανίσκους / ’ ε Ἁ 3 ’ θεμενοι θώλειαν ὁρτὴν ὠγώγωμεν ’ Διονυσῳ. ATHEN. xv. 674 C. LV. 4 ““ Διονύσου σαῦλαι Βασσαρίδες. HEPHAST. 69. ΝΕ LVI. >) ¥ > of -. . οὐδ αὖ μ᾽ ἐάσεις ἤ 3 Ν > 9 ~ μεθυοντ οἰκαδ ameAbeiv; SCHOL. AESCH. Prom. 128. LVII. Φίλη yap ef ξένοις, ἔα- σον δὲ we διψῶντα πιεῖν. ATHEN. x. 433 F. LVITI. ᾿Απὸ δ᾽ ἐξείλετο θεσμὸν μέγαν. APOLLON. SOPHIST. 87, 21. LIX. ἜἘκδῦσα χιτῶνα δωριάξειν. SCHOL. EuRIP. Hee. 934. 184 LX. / 3 > f 2. Kab & επιβωτον \ ’ Kata γείτονας ποιήσεις. AMMON. 42, Valck. LXI. Παρὰ δηῦτε Πυθόμανδρον κατέδυν Ἔρωτα φεύγων. HEPHAST. 70. LXII. Pep ὕδωρ, φέρ᾽ οἶνον, ὦ παῖ, φέρε δ᾽ ἀνθεμεῦντας ἡμὶν ’ 9 ε \ στεφάνους, ἔνεικον, ὡς oy πρὸς "Ἔρωτα πυκταλίζω. ΑΤΗΕΝ. xi. 782 Δ. 185 LXITI. v7 “ 5» ᾿ ~ Aye oy, φερ ἡμίν, ὦ παῖ, “ e/ Ν κελεβην, OKWS ἀμυστιν “ \ \ ν᾽. 5» / προπίω, Ta “μὲν δὲεκ εγχέεας e/ \ 4 > Vf ὕδατος, Ta πέντε δ᾽ οἴνου / ε > \ κυάθους, ὡς ἀνυβριστι > A % / ava δηῦτε βασσαρήσω. % % @ ᾽ % 47> / Aye δηῦτε μηκεθ᾽ οὕτω / > λ λ. ~ πατώγῳ τε καλαλητῷ \ 4 > ry] Σκυθικὴν πόσιν Tap οἵνῳ 4 ~ 3 \ ~ μὠελετωμεν, ἀλλὰ καλοῖς € > / ὑποπίνοντες ἐν ὕμνοις of / (κλείσωμεν Διονυσον). ATHEN. x. 427 A. LXIII.—The bracketed line at the end was added by Meineke. 186 LXIV % Χθόνιον δ᾽ ἐμαυτὸν ἡρεν.[Ὁ SCHOL. HESIOD. Theog. 767. LXV. Τὸν Ἔρωτα yap tov aBpov μέλομαι βρύοντα μίτραις πολυανθέμοις ἀείδειν " e \ « / ode yap θεῶν δυναστῆς, ὅδε καὶ βροτοὺς δαμάζει. CLEM. ALEX. Strom. vi. 745. LXVI. ᾿Αλλὰ πρόπινε ῥαδινούς, ὦ dire, μηρούς. SCHOL. PIND. Οἱ vii. 5. LXVII. ᾿Αδυμελές, χαρίεσσα χελιδοῖ. HEPHASST. 30. LXV.—This poem ought, perhaps, to be placed among the Anacreontea. 187 LXVIII. Μνᾶται δηῦτε φαλακρὸς "Αλεξις. HEPHAST. 30. ’ LXIX. Καλλίκομοι κοῦραι Διὸς ὠρχήσαντ᾽ ἐλαφρῶς. ATHEN. i. 21 A, LXX. ᾿Ορσόλοπος μὲν “Apys φιλέει pevaly may. HEPHASST. 90. LXXI. v7 \ € / 3 / Oute yap ἡμετέρειον οὔτε καλὸν. Et. M. 429, 50. 188 LXXIT. ~ > o> AN \ VU J, 3/ Νῦν 0 amo μὲν στέφανος πόλεος ὅλωλεν. SCHOL. PIND. OF viii. 42. LXXII. B. ᾿Αστερίς, οὔτε σ᾽ ἐγὼ φιλέω οὔτ᾽ ᾿Απελλεῆης. SCHOL. HEPHAST. p. 163 (ed. 2 Gazs/.). LXXITI. Βούλεται ἀπεροπὸς (τις) ἡμὶν εἶναι. Et. M. 433, 44. LXXIV. 3 \ \ , Decne ee ee eee ees ey δὲ μισέω ’ e/ 7) 9 e \ πῶντας, ὁσοι χθονίους: Eyouos ρυθμοὺς καὶ χωλεπούς᾽ μεμάθηκά σ᾽, ὦ Μεγίστη, ω 9 τῶν αἀβακιζομενων. Et. M. 2, 45. LXXV. Πώλε Opyxin, ti δή pe λοξὸν ὄμμασιν βλέπουσα νηλεῶς φεύγεις, δοκέεις δέ fu ovdev εἰδέναι σοφόν ; ἴσθι τοι, καλῶς μὲν ἄν τοι τὸν χαλινὸν ἐμβάλοιμι, ἡνίας δ᾽ ἔχων στρέφοιμί σ᾽ ἀμφὶ τέρματα δρόμου. νῦν δὲ λειμνῶνάς te βόσκεαι κοῦφά τε σκιρτῶσα παίξεις " δεξιὸν yap ἱπποσείρην οὐκ ἔχεις ἐπεμβάτην. HERACLID. PONT. Alleg. Hom. ς. 4. 190 LXXVI. Κλῦθί μευ γέροντος eve- θειρα χρυσόπεπλε κούρα. HEPHAST. 36. LXXVII. Eure μοι λευκαὶ μελαίναις 9 ἀναμεμίξονται τρίχες. JULIAN. Misopog. 365 Β. LXXVIIL ( Ev) μελαμφύλλω δάφνᾳ χλω- ~ 9 9 f } pa τ ελαίᾳ τανταλίζει. SCHOL. SoPH. μέρ. 138. LXXIX. Κοίωισον δ᾽, ὦ Zev, σόλοικον φθόγγον. HEROD. de Barbar. 193 post AMMON., Valck. ΙΟΙ LXXX. Διὰ δέρην ἔκοψε μέσσην, Kad δὲ λῶπος ἐσχίσθη. SCHOL. //. xvii. 542. LXXXI. Αἱ δέ μευ φρένες 9 / εκκεκωφεαται. Cram. An. Ox. 1. 288, 3. LXXXIT. Ἐγὼ δ᾽ ἔχων σκύπφον ᾿Ἐρξίωνι τῷ λευκολόφῳ μεστὸν ἐξέπινον. ΑΤΗΕΝ. xi. 498 (. LXXXII.—Bergk changes λευκολόφῳ to “Μευκολόφου. 192 LXXXITI. Στεφάνους δ᾽ ἀνὴρ τρεῖς ἕκαστος εἶχεν, \ \ € , \ \ / τοὺς μὲν ροδίνους, τὸν be Ναυκρατίτην. ATHEN. xv. 671 E. LXXXIV. Ἔστε ξένοισι μειλίχοις ἐοικότες, στέγης (τε) μοῦνον καὶ πυρὸς κεχρημένοις. PLUT. adv. Stoic. c. 20; HEPHAST. 20. LXXXV. ’ ¥ 3 ’ Πάλαι mor σαν ἀλκιμοι Μιλησιοι. ZENOB. v. 80. LXXXVI. Kai θάλαμος, ev TW κεῖνος οὐκ ἔγημεν, ὧλλ᾽ ἐγήματο. AMMON. p. 37, Καξξ. 193 LXXXVII. Κνίζη τις ἤδη καὶ πέπειρα γίνομαι \ \ ’ σὴν δια μαργοσύνην. Et. M. 523, 4. LXXXVIII. Kou μοκλὸν ἐν θύρῃσι διξῇσιν βαλών e / ἥσυχος καθεύδει. ZONAR, 1512. LXXXIX. "Epa te dyvre κοὺκ ἐρῶ \ , 9 καὶ μαίνομναι κοὺ μαίνομαι. HEPHAST. 29. 194 XC, My ὥστε κῦμα πόντιον λάλαξε, τῇ πολυκρότῃ σὺν Γαστροδωρῃ καταχύδην \ 9 πίνουσα τὴν επίστιον. ATHEN. x. 446 F. XC. Διὼ δηῦτε Kapixeupyéos 2 “ ~ / oyavolo χεῖρα τιθέμεναι. STRABO. xiv. 661. ACIT. ‘O μὲν θέλων μάχεσθαι, , / / πάρεστι yap, mayEerOw. HEPHAST. 30. XCIT.—*“ Usus est his auctor carm. Pseudo-anacr. 45, v. 8 et 9.” Bergk. (See p. 96 of the present edition.) It is doubtful whether the fragment is genuine. MB 195 XCIII. *Q ᾿ραννὲ δὴ λίην, . \ ’ πολλοῖσι Yap μελεις. PRISC. de Metr. Terent. 240, Lind. XCIV. EAETPEIA. Οὐ φιλέω, ὃς κρητῆρι Tapa πλέω οἰνοποτάζων νείκεα καὶ πόλεμον δακρυόεντα λέγει, ἀλλ᾽ ὅστις Μουσέων τε καὶ ὠγλαὰ δῶρ᾽ ᾿Αφροδίτης συμμίσγων ἐρατῆς μνήσκεται εὐφρο- ’ συνης. ATHEN. xi. 463 A. XCIII.—Bergk’s somewhat violent emendation of ὁρᾶν ἀεὶ μὴν πολλοῖσι κ. τ. λ. 196 XCV. Οὐδέ τί tor πρὸς θυμόν, ὅμως ye μένω 3 93 ἤ σ ἀδοιάστως. HEPHAST. 11. XCVI. > ST ee / 9 ’ Οὐκέτι Θρηϊκίης (mwAov) ἐπιστρεφομοαι. LONGIN. de Sublim. c. 31. XCVIT. 3 / \ / Οἰνοπότης δὲ πεποίημαι. ATHEN. xi. 460 Ὁ. XCVIIL. Aci φροντίδα μνὴ κατέχειν. MACEDONIUS, Anth, Pal. x. 70. XCVIII.—The epigram of Macedonius (who lived in the reign of Justinian) concludes :— Τὴν yap ’Avaxpeiovros ἐνὶ πραπίδεσσι φυλάσσω Παρφασίην, ὅτι Δεῖ φροντίδα μὴ κατέχειν. 197 XCIX. ᾿Αγχοῦ δ᾽ Αἰγείδεω Θησέος ἐστὶ λύρη. HYGIN. Astron. ii., 6. C. EMNITPAMMATA.* / / ᾿Αβδήρων προθανόντα τὸν aivoBiny ᾿Αγάθωνα ~ 9 > \ on e/y\2 IA? ’ . πᾶσ em) TupKains ηὃ eBoyoe «πόλις 9 \ “ e / ουτινῶ yap τοιονδὲ vewy ὁ φιλαίματος 4 Αρῆς qvapioey στυγερῆς ἐν στροφάλιγγι μάχης. * “Horum carminum satis incerta auctoritas; nam si segregaveris aperte novicia, velut 115, 116, et de quibus anceps est judicium, velut 113, etiam ea quz antiquitatis speciem pre se ferunt, pleraque a mystagogis incertam conjecturam facientibus Anacreonti adscripta sunt, vide ad 104. Itaque vel ubi temporis rationes non adversantur, anceps judicium. Leguntur pleraque continuo ordine in Anth. Pal. vi. 134-145, haud dubie ex Anacreontis carminum editionibus in eclogas epigrammatum translata, sed segreganda 198 CI. \ ¥ / / Ω Kaptepos ἣν πολέμοις Τιμοόκριτος, ov τόδε σᾶμα" “Apys δ᾽ οὐκ ἀγαθῶν φείδεται, ἀλλὰ κακῶν. ΓΙ. Οὗτος Φειδόλω ἵππος am εὐρυχόροιο Κορίνθου 9 / ow -«“ 9 ~ ἄγκειτωι ἹΚρονίδῳ, μνᾶμα ποδὼν ἀρετᾶς. sunt duo novissima; nam 144 neque Anacreontis esse potest, cum ea ztate Academia fuerit locus incultus, ut jam a 1834 monul, et iteratur infra post vi. 213 inter Simonidis epigram- mata, ultimum autem 145 ab Anacreonte pariter atque ab Simonide alienum. Turbatum hunc locum in archetypo fuisse indicat lacuna post 143 in codice et nota in marg. adscripta ov λείπει ws οἶμαι οὐδὲ ἐνταῦθα. Igitur post 143 inserta erant Simonidis epigrammata, e quibus unum germanum (144) superest cui adhzret alienum (145). Exciderunt preter Simonidis carmina fortasse unum vel alterum Anacreontis.’— Berge. 199 CITI. Lav τε χάριν, Διόνυσε, καὶ ὠγλαὸν ἄστεϊ ᾿ κόσμον Θεσσαλίας μ᾽ ἀνέθηκ᾽ ἀρχὸς Ἔχεκρα- τίδας. CIV. Πρὶν μὲν Καλλιτέλης po ἱδρύσατο" τόνδε δ᾽ ἐκείνου sf 47 ~ ’ 9 ἔκγονοι ἐστῶσαν, τοῖς χώριν ἀντιδίδου. CV. Πραξαγόρας τάδε δῶρα θεοῖς ἀνέθηκε, Λυκαίου υἱός * ἐποίησεν δ᾽ ἔργον ᾿Αναξαγόρας. 200 CVI. Παιδὶ φιλοστεφάνω Σεμέλας ἀνέθηκε Μέλανθος, μνᾶμα χοροῦ νίκας υἱὸς ᾿Αρηϊφίλου. CVIT. ε ’ ’ > ’ Pucapeva Πύθωνα δυσαχέος ex πολεμοιο 3 \ > / > f ὔ ἄσπις Αθηναίης ev τεμένει κρεμαται. ΟΝΤΙΙ. ε \ / / / H tov θυρσον eyour EAscwyias, 4 τε παρ αὑτὴν bad “ 3 3 \ Ξανθίππη, Γλαύκη τ evoyvepw 3 ’ ἐρχομένη, , -“ ’ \ ’ ἐξ ὄρεος χωρεῦσι, Διωνύσῳ δὲ φέρουσιν \ \ \ / \ } κισσὸν και σταφυλὴν πίονα καὶ χίμαρον. q 201 CIX. Πρηξιδίκη μὲν ἔρεξεν, ἐβούλευσεν de Δύσηρις z / . \ > 5 / / εἴμα tole’ Evvy ὃ ὠμφοτερων σοφίη. CX. Πρόφρων, ᾿Αργυρότοξε, δίδου χάριν Αἰσχύλου υἱῷ Ναυκράτει, εὐχωλᾶς τάσδ᾽ ὑποδεξάμενος. ΟΣΙ. Evyeo Τιμώνακτι θεῶν κήρυκα γενέσθαι ἥπιον, ὃς μ᾽ ἐρατοῖς ὠγλαΐην προθύροις Ἑρμῇ τε κρείοντι καθέσσατο᾽ τὸν δ᾽ / ἐθελοντα ἀστῶν καὶ ξείνων γυμνασίῳ devo γυμνώσιῳ θέχομοαι. 202 CXII. ᾽ / / ’ Τελλιδὶ ἱμερόεντα βίον πορε, Μαιώδος e/ vie, > 9 3 - / - ’ ἄντ ἐρωτῶν δώρων τῶνδε χάριν , . θεμενος \ , ὔ δὸς δὲ μιν εὐθυδίκων Ἑδνωνυμέων evs ὔ δήμῳ ͵ 9~ w 3 3 > ’ ναίειν αἰῶνος μοίραν εχοντ ὠγαθην. CXITI. Kai σέ, KaAeyvopidy, πόθος ὠλεσε πατρίδος αἴης θα ρσήσαντα Νότου λαίλαπι χειμερίῃ" ὥρη γάρ σε πέδησεν ἀνέγγυος ὑγρὰ δὲ τὴν σὴν | / 3 3 > e \ 9 € ’ κυματ ἀφ ἱμερτὴν εκλυσεν ηλικίην. 203 CXIV. ᾿Αλκίμων σ᾽, ὠὡριστοκλείδη, πρῶτον 9 , 4 οἰκτείρω φίλων, ὥλεσας δ᾽ ἥβην, ἀμύνων πατρίδος δουληϊην. CXV. | / / > + / / \ \ Βουκολε τῶν ὠγέλαν πόρρω νέμε, μὴ TO Μύρωνος βοίδιον ὡς ἔμπνουν βουσὶ συνεξελάσης. CXVI. Βοίδιον ov χοάνοις τετυπωμένον, GAA ὑπὸ γήρως χαλκωθέν, σφετέρῃ ψεύσατο χειρὶ Μύρω». NOTES. 207 NOTES. Pp. 2-9.—The first three Odes have been choicely rendered by “A. W.,” an unknown contributor to Davison’s Poetical Rhapsody, 1602 :— I. Of Atreus’ sons fain would I write; And fain of Cadmus would I sing ; My 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 above ; I sung of fierce Alcides’ might ; My lute would sound no tune but Love. Wherefore, ye worthies all, farewell ; No tune but Love my lute can tell. 208 IT. A comparison betwixt the strength of beasts, the wisdom 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 weel ; The bird, by flight, the fowler’s net ; With wisdom man is armed as steel ; Poor 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 round At 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 ἢ You break my sleep, my dreams are marred.” 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 therewithal ; Out 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; “1 fear my string hath caught some harm, And wet, will prove too slack for me.” He said ; and bent his bow, and shot; And wightly hit me on the heart : The wound was sore; and raging hot, The heat like fury reeks my smart. ‘“ Mine host,” quoth he, “ my string {s well,” And laughed so that he leaped again : “Look to your wound for fear it swell, Your heart may hap to feel the pain.” 210 The third Ode has been frequently translated into English. Robert Greene’s rendering in Orpharion (1589) is the earliest, and very good it is :-- Cupid abroad was lated in the night; His wings were wet with ranging in the rain: Harbour he sought, to me he took his flight, To dry his plumes: I heard the boy complain ; I oped the door, and granted his desire ; I rose myself, and made the wag a fire. Prying more narrow by the fire’s flame, I spied his quiver hanging at his back : Doubting the boy might my misfortune frame, I would have gone for fear of further wrack ; But what I fear’d, did me, poor wretch, betide, For forth he drew an arrow from his side. He pierced the quick, and I began to start ; A pleasing wound, but that it was too high : His shaft procured a sharp, yet sugared smart ; Away he flew, for now his wings were dry ; But left the arrow sticking in my breast, That sore I grieve I welcomed such a guest. Herrick’s version in Hesperides is headed ‘The Cheat of Cupid; or the Ungentle Guest” (erick, ed. Pollard, i. 30); Prior’s is entitled ‘Cupid turned Stroller.” Cowley turned the first two Odes, but not the third. Ronsard, Baif, Olivier de Magny, and La Fontaine imitated the third. 211 P. 10.—Cowley’s paraphrastic rendering of the fourth Ode is delightful :— — + Underneath this myrtle shade, On flow’ry beds supinely laid, With od’rous oils my head o’erflowing And around it roses growing, What should I do but drink away The 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 cup Wit and Mirth and noble Fires, Vigorous Health and gay Desires. The wheel of life no less will stay In a smooth than rugged way : Since 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 spread Upon the monuments of the dead ? Nothing they but dust can show Or 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 boire dessus l’herbe tendre”), or Leconte de Lisle’s (“ Sur le myrte frais et l’herbe des bois”). P 2 212 P, 12,—QOde v. was imitated by Ronsard,— ‘‘ Versons ces roses en ce vin, En ce bon vin versons ces roses,” &c. P. 20.—Cf. Ronsard, ‘D’ot viens tu, douce, colombelle ?” P. 28.—In Thomas Forde’s Love's Labyrinth, 1660, there is a neat translation of the eleventh Ode. (It will be found in my anthology Lyris from Elizabethan Dramatists, ed. 1891, p. 228.) Cowley also rendered it. P. 30.—QOde xii. Cf. Ronsard, “ Tay-toy, babillarde arondelle.” Ρ, 32.—QOde xiii. There is an early French trans- lation by Antoine de Baif (Quatre Livres de Ll’ Amour, 1555). P. 34. —Ode xiv. doubtless suggested to Herrick the verses :— Am I despised because you say, And I dare swear, that I am grey ? &c. (Herrick, ed. Pollard, 1. 75-6.) 213 Cowley’s version runs thus :— AGE. Oft am I by the women told, “ Poor Anacreon, thou grow’st old, Look how thy hairs are falling all ; Poor 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 verses beginning “Quand je veux en amour prendre mes passe-temps.” Baif has a translation. P. 36.—Cowley has a very free, and very attractive, rendering of Ode xv. :— Fill the bowl with rosy wine! Around our temples roses twine! &c. The original is imitated from Archilochus, fr. 24 :— Οὔ μοι τὰ Γύγεω τοῦ πολυχρύσου μέλει, οὐδ᾽ εἷλέ πώ με ζῆλος, οὐδ᾽ ἀγαίομαι Θεῶν ἔργα, μεγάλης δ᾽ οὐκ ἐρῶ τυραννίδος. Ronsard’s poem— Du grand Turc je n’ay soucy Ny du grand Tartare aussi, &c.— was drawn partly from the present Ode and partly from the Ode on p. 42. 214 P. 40.—Ode xvii. was imitated in Ronsard’s poem beginning “ Plusieurs de leurs corps desnuez,” which has been deftly turned by my good friend W. J. Linton (Poems and Translations, 1889, p. 130). The song in Tennyson's Miller's Daughter (“It is the mniller’s daughter,” &c.) may have been remotely inspired by the present ode. In Dr. Barten Holyday’s Technogamia, 1618, (a Shrove-tide play acted at Christ Church) there is the following translation :— TO HIS LOVE. Niobe, as they say, once stood, Turned to a stone, by Phrygian flood ; Pandion’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 thee ; Or I, my Love, would be thy gown, By thee to be worn up and down; Or a pure well full to the brims That I might wash thy purer limbs ; Or I'd be precious balm to ’noint With choicest care each choicest joint ; Or, if I might, I would be fain About thy neck thy happy chain ; Or would it were my blessed hap To be the lawn o’er thy fair pap; Or would I were thy shoe, to be Daily but trod upon by thee. 215 Another (less happy) translation is by Soame Jenyns. There is a good rendering in Leconte de Lisle’s Poémes Antiques. Voltaire has a playful epigram on the famous Ode :— Anacréon, de qui le style Est souvent assez familier, Dit dans un certain Vaudeville, Soit ἃ Daphné, soit ἃ Bathylle, Qu'il voudrait étre son souler. Je révére la Gréce antique, Mais ce sentiment poétique Paratt celui d’un cordonnier. P. 42.—Ode xviii. was imitated by Rochester, in Lhe 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 les eaux va boivant”). Barten Holyday in Zechnogamia, 1618, gives the following version :— The fruitful earth does drink the rain ; Trees drink the fruitful earth again. The sea does drink the liquid air ; By the sun’s beams the sea-waves are Drunk up, which is no sooner done But straight the moon drinks up the sun. Why then, companions, do you think I may not with like freedom drink ? 216 Cowley’s paraphrase must be added :— . DRINKING. The thirsty earth soaks up the rain And drinks, and gapes for drink again ; The plants suck in the earth and are With constant drinking fresh and fair ; The sea itself, which one would think Should 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 guess By’s drunken fiery face no less) Drinks up the sea, and when ’has done The 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 high! Fill all the glasses there! for why Should every creature drink but I Ὁ Why, man of morals ? tell me, why ? Shelley's Love's Philosophy bears a distant resem- blance to the present Ode. P. 54.—Ode xxiii. was translated by Ronsard (“ Ha! si l’or pouvoit allonger,” &c.). 217 P. 76.—Ode xxx. inspired Ronsard’s pleasant ode beginning— Les Muses liérent un jour De chatnes de roses I’Amour, Et, pour le garder, le donnérent Aux GrAces et ἃ la Beauté, Qui, voyant sa déloyauté, Sur Parnasse l’emprisonnérent. P. 78.—Ode xxxi. Cf. Moschus’ Second Idyll; also Tennyson's Palace of Art:— Or sweet Europa’s mantle blew unclasp’d From off her shoulder backward borne: From one hand droop’d a crocus: one hand grasp’d The mild bull’s golden horn. P, 80.—QOde xxxit. Cf. Ronsard, Si tu me peux conter les fleurs Du printemps, &c. 218 P. 84.—Ode xxxili. was imitated by Herrick :— UPON HIS GREY HAIRS. Fly me not though I be grey; Lady, this I know you'll say: Better look the roses red When with white commingled. Black your hairs are, mine are white ; This begets the more delight, When things meet most opposite ; As in pictures we descry Venus standing Vulcan by. In Examen Miscellaneum, 1702, 1 find the follow- ing version :— 1 Madam, tho’ my hairs are grey, Sure you need not run away: *" You are blooming, fresh and fair As 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 you Two such colours now can do. Cf. Ronsard, “ Pourtant si j’ay le chef plus blanc.” P. 88.—Ronsard, Baif, and Cowley rendered the Ode to the Swallow. 219 P. 98.—Cf. Herrick :— Brisk, methinks, I am and fine When I drink my cap’ring wine: Then to love I do incline When I drink my wanton wine, &c. P, 102.—Ode xl., Cupid stung by the Bee, has been frequently imitated. Probably it is itself founded upon some earlier poem. The spurious Nineteenth Idyll of Theocritus deals with this favourite conceit, which we frequently find represented on gems. (The reproduction on the cover of the present volume is from a gem, doubtless modern, that was once in the Poniatowski collection.) Spenser has a copy of verses appended to the Amorett: :— Upon a day, as Love lay sweetly slumb’ring All 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 Madrigals, 1618, the little ode 15 charmingly turned :— Cupid in a bed of roses Sleeping, chanced to be stung Of a bee that lay among The flowers where he himself reposes ; And thus to his mother weeping Told that he this wound did take Of a little winged snake, 220 As he lay securely sleeping. Cytherea smiling said That If so great sorrow spring From 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, Ze Wounded Cupid (‘‘ Cupid as he lay among Roses, by a bee was stung,” &c.) is well known. The rendering by Mathurin Regnier may be added :— L'AMOUR PIQUE PAR UNE ABEILLE. Le tendre Amour cueillant un jour des fleurs, Fut, par hasard, piqué par une abeille Cachée au fond d’une rose vermeille ; Au méme instant il s’en va tout en pleurs Dire ἃ Vénus: Ma mére, je me meurs ; Je suis piqué d’une vipére ailée, Qui dans ces lieux abeille est appelée : Je n’en puis plus, je me meurs, je me meurs. Si d’une abeille, 6 mon fils, la piqdre, Répond Vénus, vous fait tant de douleur, Quelle douleur croyez-vous donc qu’endure Un malheureux dont vous percez le cceur ? Other renderings are by Ronsard, Baif, Olivier de Magny, and Leconte de Lisle (Poémes Antiques). en, 22! P. 110.—Cowley’s leisurely expansion of Ode xiliii. must not be omitted, though many readers will have it by heart :— THE GRASSHOPPER. Happy insect, what can be In 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 thee ; All 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 year! Thee Pheebus loves, and does inspire ; Phcebus is himself thy sire. 222 To thee of all kings upon earth, Life is no longer than thy mirth. Happy insect, happy thou Dost neither age nor winter know. But when thou’st drunk, and danced, and sung Thy fill, the flow’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 (Poémes Antiques) is very happy :— O Cigale, née avec les beaux jours, Sur les verts rameaux dés l’aube posée, Contente de boire un peu de rosee, Et telle qu'un roi, tu chantes toujours ἢ Innocente a tous, paisible et sans ruses, Le gai laboureur, du chéne abrité, T’écoute de loin annoncer I’été ; Apollén t’honore autant que les Muses, Et Zeus t’a donné I|’Immortalité! Salut, sage enfant de la Terre antique, Dont le chant invite a clore les yeux, Et qui, sous l’ardeur du soleil Attique, N'ayant chair ni sang, vis semblable aux Dieux! 223 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 lebest ! Dir gebéret eigen Alles, Was du auf den Feldern siehest, Alles, was die Stunden bringen ; Lebest unter Ackersleuten, Ihre Freundin, unbeschadigt Du den Sterblichen Verehrte Siiszen Friihlings siiszer Bote ! Ja, dich lieben alle Musen, Phébus selber musz dich lieben Gaben 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 726 Vsz0on :— 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. 224 P. 189.—I have not found a good English version of the charming poem [lee Opnxin, τί δή με (which Horace imitated in “ Vitas hinnuleo me similis, Chloe”), but Ronsard’s rendering may be given :— Pourquoi comme une jeune poutre De travers guignes-tu vers moy? Pourquoi, farouche, fuis-tu outre Quand je veux approcher de toy? Tu ne veux souffrir qu’on te touche ; Mais si je t’'avois sous ma main, Asseure toi que dans ta bouche Bientost je t’aurois mis le frein. Puis, te voltant ἃ toute bride, Soudain je t’aurois fait au cours, Et, te piquant, serois ton guide Dans la carriere des amours. Mais par I’herbe tu ne fais ores Que suivre des prez la fraicheur, Pource que tu n’as point encores Trouvé quelque bon chevaucheur. Leconte de Lisle has a translation in Poémes Antiques. THE END.