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THE 
 
 ODES OF ANACREON, 
 
 LITERALLY TRANSLATED INTO ENGLISH PROSE ; 
 
 FROM 
 
 THE BEST TEXT. 
 
ΤΑ TOT 
 
 ΑΝΑΚΡΕΟΝΤΟΣ 
 
 TOT THIOT 
 
 ΜΕΛΗ. 
 
 THE ODES 
 
 ANACREON 
 
 THE TEIAN BARD, 
 LITERALLY TRANSLATED INTO ENGLISH PROSE ; 
 
 FROM 
 
 €De afost ©c?t: 
 
 THE ORIGINAL GREEK, THE METRES, THE ORDO, AND 
 ENGLISH ACCENTUATION. 
 
 TO WHICH ARE SUBJOINED 
 
 NOTES CRITICAL AND EXPLANATORY. 
 
 BY 
 
 T. W. C. EDWARDS, M. A. 
 
 Δοτέ fxoi λνξ'/,ν ΌίΑΥ/ξο 
 φονΊης avivbi χοξ$ν>ς. 
 
 Anacreon. 
 
 LONDON: 
 
 PRINTED EOR W. SIMPKIN AND R. MARSHALL, 
 
 STATIONERS'-HALL-COURT, LUDGATE STREET. 
 
 MDCCCXXX. 
 

 ^v. 
 
 J.M'Gowan <uid S071, Great Windmill Street. 
 
SKETCH 
 
 OF THE 
 
 LIFE OF ANACREON. 
 
 IN or about the second year of the 55th Olympiad, be- 
 ing the 3445th year of the world, the 559th before Christ, 
 the 194th of Rome, and 47th year of the Jewish captivi- 
 ty, Anacreon was born at Teos, — now called Sigagik, a 
 city and sea port of Ionia in Asia Minor, nearly opposite 
 the isle of Samos, and at that time one of the twelve cities 
 of the Ionian confederacy. This year was the third of the 
 reign of Croesus the celebrated king of Lydia, — at whose 
 court jEsop resided ; and the first, of the reign of Cyrus 
 the Elder, king of Persia: also the year previous to that, 
 in which Solon died,— in Cyprus at the age of eighty. 
 
 Respecting the parentage and early days of Anacreon, 
 very little, indeed, is known: but many circumstances, as 
 well as tradition, render it probable, that his parents were 
 affluent, perhaps noble; and, that the education which he 
 received, was such as befitted a person of high birth. 
 
 Some writers, but on no authority that can be relied up- 
 on, have asserted, that his father's name was Parthonius : 
 and his mother's Eetia : and Plato says, that he was not 
 only nearly related to Solon; but likewise that Codrusthe 
 last king of Athens, who upwards of 500 years before the 
 birth of Anacreon, devoted himself to death for his coun- 
 try, was one of his progenitors. Others again affirm, that 
 he had Scythinus, the Teian poet, for father: and others 
 call him the son of Aristocritus the composer of a Treatise 
 concerning Miletus the capital of all Ionia. 
 
 In person, Anacreon was of middle size, and handsome- 
 ly formed: his countenance was open, placid, and expres- 
 sive : his manners were refined : his mind lively : his dis- 
 position inoffensive. He was, however, a man* lascivious 
 
vi LIFE OF ANACREON. 
 
 in his heart, voluptuary in his habits, and openly lavish 
 in his praises of dissipation and intemperance. 
 
 In his younger years Anicreon had travelled into seve- 
 ral foreign countries : and his companionable qualities had 
 endeared him wherever he went. Being an excellent per- 
 former on the harp, and generally accompanying the notes 
 of his well-tuned Instrument with a most melodious voice, 
 and with appropriate words of his own composing, always 
 full of sweetness, often full of sentiment, and generally full 
 of glee, he could not fail to be universally agreeable — and 
 universally esteemed. 
 
 At the court of Polycrates, king of Samos, An&creon was 
 for many years a constant resident; and here he conceived 
 a wonderful liking for a youth of great beauty, and mo- 
 desty, named Bathyllus, — and whom the king himself e- 
 qually admired. 
 
 At the court, also, of Hipparchus, son of Pisistratus ty- 
 rant of Athens, our lyrist was in very high favour : — and 
 during a long life he maintained both at home and abroad 
 the enviable character of being " A just man, free from 
 avarice, and free from ambition." 
 
 Of the Lyric Odes or sonnets which he composed very 
 few (comparatively) have come down to our times ; and of 
 the few attributed to him, some are wholly spurious, and 
 others in part corrupt : yet, such as they are, they have 
 been the admiration of every age and country, justly re- 
 garded as productions of singular softness, elegance, ori- 
 ginality, nativeness, and simplicity. 
 
 Anacreon, towards the evening of his life, betook him- 
 self home to his native city ; and, in the enjoyment of ex- 
 cellent health, spent the greatest part of his time in min- 
 strelsy, dancing, and drinking, — which last, it is not dis- 
 guised, he carried rather to excess. He continued, never- 
 theless, greatly respected ; and over all Greece he was for 
 many years before his death, and long afterwards, desig- 
 nated " The Texan Old Man." 
 
 At the age of eighty-five, whilst eating some grapes, 
 he was unfortunately choked by one of them, — and died, 
 it is said, laughing. 
 
TO THE READER. 
 
 The Odes of Anacreon, often as they have been edited and commen- 
 ted upon, have never yet appeared in the Form which I have now given them. 
 
 The Greek Text, with Latin Annotations, sometimes accompanied, and 
 sometimes not, with a Latin Version, and a few General Observations on the 
 Metre, will be found to constitute the sum and substance of by far the greater 
 part of the Editions (hitherto published) of this very pleasing author: the rest 
 consist of a few Poetical, and one or two Verbal Translations, mostly from a 
 Text evidently corrupt, and in numerous instances unmetrical ; with here and 
 there a common-place remark :— but not from beginning to end (so far as I am 
 aware) is any allusion, whatever, made to the scanning of the verses. 
 
 The Present Edition comprises the Original Greek from the most 
 approved Text, each verse throughout being numbered and scanned: beneath 
 which, in the same page is given the Ordo, with all the words accented agree- 
 ably to the Modem Pronunciation of the Dead Languages : again, under the 
 Ordo, stands a very Literal English Prose Translation, in which the spirit of 
 the Original is preserved as much as possible ; and lastly, also in English, are 
 subjoined, at the foot of each page, such Notes, both Critical and Explanato- 
 ry, as seemed to me best suited to the capacity of persons likely to avail them- 
 selves of these helps to understand Anacreon's Odes in the Original. 
 
 The Texts of Stephens, Andrews, Faber, dePauw,Dacier, Barnes, Mait- 
 taire, Baxter, Brunck, and most others, have been diligently collated, and their 
 observations weighed. No one of these, however, has been servilely followed ; 
 and yet every one of them has contributed more or less. But amidst the jar- 
 rings of so many editors, often differing entirely from one another in opinion, 
 it is difficult (if not impossible) to steer a steady and direct course. 
 
 It is well known that the ravages of time have not left us even a fourth part 
 of the Odes which Anacreon wrote: and it is likewise well known that of the 
 extant Odes ascribed to him, some have been mutilated, others interpolated ; 
 some have been altered in various instances, and others indeed have been sus- 
 pected of being counterfeit. De PaW explicitly condemns Odes II, XVIII, 
 XX, XXIII, XXIV, XXVI, ΧΧΧΙ,ΧΧΧΙΙ, XLI,XLVIII, LI, 
 LI I, LIII, and LV ; but of these several are, by men equally as learned as 
 de Pauw, considered genuine,— and worthy of that appellation. I indeed, for 
 one, am inclined to suspect Ode LVI, the last of all, more than any of the o- 
 thers ; because it is so different in sentiment, from that of Anacreon elsewhere, 
 on the subject of death. The style of our author may be closely imitated witli 
 very little trouble: and hence the difficulty of at first detecting adulterations, — 
 seeing-that the authority of MSS. is not always to be relied on. 
 
 Besides the entire Odes usually received as those of Anacreon, amounting 
 in the whole to fifty six, there are in the Greek Anthology several Fragments 
 Of Odes, which some attribute, chiefly from conjecture, to the same bard. 
 
 These I have not admitted : nor yet the two Odes extolled by Barnes, but 
 condemned by Baxter and many others,— namely, the one To Apollo, and the 
 
viii TO THE READER. 
 
 one on Fugitive Gold. The present Collection contains all the Odes of Ana- 
 creon contained in the best MSS. and early editions,— but nothing further. 
 
 Although several of these poems are in praise of wine, and the pleasures of 
 love, two subjects which the poet has treated with amazing sweetness and di- 
 versity, yet, in by far the greater number of the Odes, he has made choice of 
 some other theme, and always handled it with the utmost elegance. Such, for 
 example, as, Cupid Wandering in a Dark and Wet Nighty III. Cupid Run- 
 ning a Race, VII. A Waxen Cupid, X. Cupid in Battle, XIV. Cupid 
 Bound by the Muses, and Given to Beauty, XXX. Cupid's Nest, XXXI II. 
 Cupid Stung by a Bee, XL. Cupid and Mars, XLV. A Carrier Pigeon, 
 IX. A Chirping Swallow, XII. The Gift» of Nature, II. The Rose, 
 Sweetest of Flowers, V, LI II. Freedom from Envy, XV. The Beauties 
 of Spring, XXXVII. The Felicitous Grasshopper, XLIII. The Hard- 
 ships of Love* XLVI. An Old Man Dancing, XLVII. Instructions to a 
 Painter, XXVIII, XXIX, XLIX. Instructions to a Silversmith, 
 XVII, XVIII. Europa Crossing the Sea, XXXV. A Medal of Venus, 
 LI. Vintage, LII. A Rural Scene, XXII. A Dream of his Own, VIII, 
 XL1V. The near Approach of Death, L VI. 
 
 Respecting the Metres of the Odes of Anacreon, I have nowhere met with 
 any thing satisfactory. Baxter considered every verse without exception to be 
 an Iambic Dimeter Catalectic, though in some places deviating from the strict 
 Rules of Grammarians as regards this Metre. Many of his remarks on the 
 Feet are truly ludicrous and absurd. Barnes took some pains to elucidate this 
 subject, but all he said, amounts to little more than nothing. Most other edi- 
 tors have been nearly of Baxter's sentiment. Dalzel, and after him Dunbar, 
 both admit in their notes, that there are verses of different kinds in some of the 
 Odes, — but without any further information concerning them, than, that they 
 will explain them " viva voce inter docendum." Dunbar indeed in his Trea- 
 tise on Greek Prosody, a work of some merit, has not touched upon this head 
 of varieties at all. He says merely on the 4< Antisp^ticum Glyconeum," by 
 way of note, " Anacreonticum itiam nuncupatur." And yet in the whole of 
 Anacreon there is not even a single verse reducible to this metre. 
 
 The Metres of the Odes of Anacreon are all reducible to four Species ; for 
 a Synopsis of which, see the end of this Volume:— 
 
 First, Iambic Dimeter Catalectic, properly so called, as in Ode I. 
 
 Secondly, Dimeter Ionic a Minore Anacreontic, being a variety of Antis- 
 pastic Dimeter Acatalectic, as in Ode III, and many others; some with equal, 
 and others with less regularity and precision. 
 
 Thirdly, Antispastic Dimeter Catalectic, called also, Antispastic Phere- 
 cratean, as in Ode XXVII. This species (strictly speaking) occurs only 
 three times, — but Ode XVIII, and in like manner all the Dimeter Iambic 
 Catalectic Odes throughout, may be similarly scanned. 
 
 Fourthly, Dimeter Choriambic Interposite, likewise called Pherecratic, 
 but by some, Gly conic, and scanned either as an Interposed Choriambic, or, as 
 a Dactylic Trimeter Acatalectic, as in Ode XXX, the only instance of this 
 Metre that occurs in Anacreon. 
 
 London, Srd October, 1828. 
 
ΆΝΑΚΡΕ'ΟΝΤΟΣ ΜΕ'ΛΗ. 
 
 'φΔΗ ν Α'. 'Εις Αύρα,ν, 
 
 ΘΕ'ΛίΙ λέγειν Άτρείδα,ς, 
 %έλω 8ε Κάδμον οίδειν 
 ά βάρξιτος δε χορδα,ΐς 
 έρωτα, μοϋνον ή%εΐ. 
 Ή^£/ψα νεύρα, πρώην, 
 υ,ολ την λύρην α,τα,σ&ν 
 
 ν -ν/ - %* 
 
 w -Κ, - 
 
 THE ORDER, AND ENGLISH ACCENTUATION, 
 θέλω \eyeiv ArpeiBas, %£\ω Be aBeiv ΚάΒμον Be ά βάρ- 
 €ιτο9 γόρΒαί$ ήχ€ύ €ρώτα μαννον* Πρώην ημείψα vev- 
 ρα, και, την άπασαν λνρην, 
 
 TRANSLATION. 
 THE SONGS OFANACREON. 
 
 ODE I. Concerning his Lyre, 
 
 I wish to rehearse the sons-of-Atreus ; I wish ? too, to 
 sing-of Cadmus : but the lyre with its strings sounds love 
 alone. Lately I altered the chords, and the whole harp : 
 
 1. Άτξύ^ας, the sons of Atreus, 
 namely, Agamemnon and Mene- 
 laus, the two captains in chief of 
 the Greeks in the Trojan war. — 
 By the Atreldee, here, may be un- 
 derstood either epic poetry in ge- 
 neral, or, only a poem or song on 
 the siege and capture of Troy. — 
 The Metre of this Ode is Iambic 
 Dimeter Catalectic. 
 
 2. Kafyov, Cadmus, the found- 
 er of Thebes in Bceotia. By Cad- 
 mus the poet may mean theThe- 
 ban war, in which the two sons of 
 (Edipus engaged in single com- 
 bat and slew each other. 
 
 3. a, in the Doric dialect, for 
 »j, the. As Anacreon was a native 
 
 of Ionia, he uses the Ionic dialect 
 in general, on account of its pe- 
 culiar softness and adaptation to 
 the lute : but he does not confine 
 himself to it :— j3a§CiTcf , lyre, lute, 
 or harp, a musical instrument ei- 
 ther of wood or ivory, sometimes 
 of fewer and sometimes of more 
 strings. At first the strings were 
 only five in number ; then seven ; 
 then nine ; and afterwards ele- 
 ven, and upwards. 
 
 S. ripi\\ot. ηνξα πρώην, I lately 
 changed the strings. It was cus- 
 tomary, it seems, to have differ- 
 ent sets of strings, and to change 
 one or more of the strings with a- 
 ny change of subject. 
 
10 
 
 ι. 7. Ανακρέοντος 
 
 7 
 
 8 
 
 9 
 
 10 
 
 11 
 
 12 
 
 κοίγω [ύν ySov άθλους 
 Ηρακλέους' λύρη 8ε 
 
 έρωτας άντεφώνει. 
 Χά,ροιτε, λοιπόν, η^Ίν 
 ήρωες' η λυρη ηο\ρ 
 μονούς έρωτας οίδει. 
 
 — >\j —us* - 
 
 ν -ν 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 και έγω μεν ήδον άθΧονς ΉράκΧεονε' Be Χνρη αντεψώνει 
 ερώτα?. Χαροίτε ήμιν, Χοίττον, ήρωες, yap ή Χνρη άδει 
 έρωτας μόνους. 
 
 TRANSLATION. 
 
 and I indeed sang the labours of Hercules; but the lute 
 was-responding endearments. Fare-ye-well for us, in fu- 
 ture, heroes : for the lyre warbles love-matters only. 
 
 7 — 8. wio» άθλους Ηρακλέους, I 
 sang ( or,' I began to sing ) Hercu- 
 les' s labours. As the language of 
 poetry is elliptical, the article is 
 often omitted : thus, in the first 
 line we have Άτρεί^ας for τους Ά- 
 τρύΐας, and here again, αύλους for 
 τους άθλους. The pronoun εγω is 
 expressed for the sake of empha- 
 sis, in contrast with λύρη. 
 
 9. έρωτας άντεφωνει, was in con- 
 trariety sounding loves, — that is, 
 whilst I, with my voice, was re- 
 lating the labours of a hero, the 
 lyre on its strings was breathing 
 nothing but love. It may here 
 be remarked, that, έρωτες, in the 
 
 Slural number, like " amores" in 
 <atin, is only a stronger epithet 
 for the passion of love in general 
 than is the singular number έρως 
 or " amor," an acceptation at va- 
 riance with the English idiom : έ- 
 
 ρωτες also signifies " love affairs, 
 love affections or expression", love 
 objects, love enjoyments, and such 
 like :'' or, lastly, it is put for " the 
 Loves," — imaginary little beings 
 like pretty boys, and often con- 
 joined with other imaginary be- 
 ings, called " the Graces," lovely 
 virgins whose forms were capti- 
 vating, whose dresses were ele- 
 gant but simple, and whose every 
 motion, indeed, was unspeakable 
 gracefulness. "Ερως in the singu- 
 lar number is likewise the name 
 of Cupid, or Venus's little boy ; 
 an arch, playful, dangerous ur- 
 chin, armed with a bow, and a qui- 
 ver full of arrows. 
 
 11. ίρωες, ye heroes, with allu- 
 sion to the Atreidae, to Cadmus, 
 and to Hercules. According to 
 Hesiod there were no heroes sub- 
 sequent to the Trojan and The» 
 ban wars. 
 
ΤΗΙΟΤ ΜΕΛΗ. II. 1, 
 
 11 
 
 ΏΔΗ λ Β\ 'Εις Τυνσ,Ίκκς 
 
 ΦΤ'ΣΙΣ κερα,τα, τσ,ύροις, 
 όπλ&,ς ί' εδωκεν Ιπποις, 
 ποδωκίψ ΧαγωοΊς, 
 λέου(τι %άσγ/ν' οδόντων, 
 
 ν/ — — 
 
 Γ 
 
 *-» — — 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 
 Φνσι$ eSdo/ce κβράτα ταύρο L9, Be orrXas 'ίπποι?, ττοΒώ/αην 
 XaycooLS, γάσμα, οΒόντων \eovo~i, 
 
 TRANSLATION. 
 
 ODE II. On Women. 
 
 Nature has-given horns to bulls, and hoofs to horses, 
 swiftness-of-foot to hares, a wide-apertion of teeth to lions, 
 
 be lengthened if the Metre so re- 
 quired. On the middle syllable 
 of κέρατα in this verse there is a 
 metrical ictus, and hence the syl- 
 lable, though short, may be ( and 
 is) dwelt upon, and made long. — - 
 Bosworth, in his Edition of the 
 Eton Greek Grammar, a work of 
 merit, marks the penult of κέρα- 
 τος, long, — and of κέραος for κέρα- 
 τος. Baxter notices, that, in an 
 Hexameter Verse attributed to 
 Orpheus, the penult of κέρατα is 
 long : upon which Barnes say», 
 "notandum vero quod recte pro- 
 ducatur, quandoquidem per con- 
 tractum ex κςράατα fiat. Alias est 
 κέρας, του κέρατος, media brevi,— 
 vel Kepaos, Ktp&s." 
 
 3. ΐΐοίωκί-ην in the Ionic dialect 
 for ποδωκΙα~ν, swift-footedness, ve- 
 locity -of -foot. 
 
 4>. χΐσμ 65όντων, chasm of teeth % 
 or simply, devouring jaws; that is, 
 a ravenous mouth. 
 
 1. The metre of this Ode being, 
 like that of the preceding, dime- 
 ter Iambic Catalectic, it follows, 
 that the middle syllable of κέρατα 
 is here long. Now κέρας, κέρατος, 
 has the increment short : hence 
 several commentators have per- 
 plexed themselves to account for 
 the length of the penult of κέρα- 
 τα. Some few of them have even 
 gone so far as to assert that this 
 κέρατα is not the accusative case 
 plural of κέρας, but of κεράας, — a 
 word never before heard of. The 
 solution is simply this: the three 
 vowels, α, ι, v, were called doubt- 
 ful, being sometimes long, some- 
 times short, sometimes of ambi- 
 guous length : and though in most 
 words, usage or custom had esta- 
 blished, for these three vowels, a 
 definite quantity, either long, or 
 else short, yet in verse, under cer- 
 tain circumstances, a short a, — 
 or a short i 3 — or a short f, might 
 
12 
 
 π. 5. Ανακρέοντος 
 
 5 
 
 6 
 
 7 
 
 8 
 
 9 
 
 10 
 
 11 
 
 12 
 
 13 
 
 τοΓ£ l%Qv<riv το νηκτον, 
 τοις όρνέοις πέτασθαι, 
 τοις άνδράσι φρόνημα,• 
 ηυναιξίν ουκ ετ εΐ%εν. 
 Τ/ ουν δίδωσι ; Κάλλος, 
 άντ ασπίδων άπασών, 
 άντ εγχβων απάντων 
 νίκα δε και σίδηρον, 
 κα) πυρ, καλή τις ούσα. 
 
 w-||w- 
 
 „ _, |ν , -Ι- 
 - _||„ -jw 
 
 -|ν -llw —Ι ν/ 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 Tots ίγθυσι to vtjktov, rois opveois πετάσθαι, tols άν- 
 Βρασι φρόνημα' γυναιξί ουκ ei%e in. TC ουν ΒιΒώσί ; 
 KaWos, άντ ι άπάσων άσπι,Βων, άντι απάντων εγχβων* 
 Be tis ούσα κάλη νίκα, και σιΒήρον, και πυρ. 
 TRANSLATION. 
 
 to the fishes the faculty-of-swimming, to the birds to-fly- 
 ση -wing, to the men, courage : for women she had not any 
 more. What then giveth she ? Beauty, in place of all buck- 
 lers, in lieu of all spears: and any- woman being beautiful 
 conquers both steel and fire. 
 
 5. to vnntov, literally, the swim,' 
 ming, — freely, the faculty to swim 
 or the means of swimming. 
 
 6. πέτασΰοω, to fly. The infini- 
 tive mood of verbs is often usur- 
 ped substantively, either with or 
 without the article, — nor is this 
 idiom confined to the Greek lan- 
 guage only. 
 
 7. τοϊς uvfyaai, to the men, that 
 is, unto the male part of the human 
 race — in contradistinction to yv- 
 »α»|<κ, of the next verse: — φξόνη- 
 μα,, fortitude, courage, valor, brave- 
 ry, prowess; and not wisdom, pru- 
 dence, (nor thoughtfulness or con- 
 templation, as some have it), since 
 
 many women are pretty wise and 
 prudent, and not a few thoughtful 
 and contemplative .• instances, in- 
 deed, have occurred of great va- 
 lor in women, — and of great cow- 
 ardice in men; yet valor is not at 
 all a characteristic of the fair sex, 
 nor is cowardliness^Yery common 
 in ours. 
 
 8. ovx. tr ϊΐγιν , she possessed not 
 yet or she no longer had — aught to 
 give or bestow : in other words, 
 nature had no more gifts of the 
 sort already mentioned, and more 
 particularly, valor. 
 
 9 — io. ami, in lieu of or instead 
 of — against or of more avail than. 
 
ΤΗΙΟΤ ΜΕΛΗ. III. L 
 
 13 
 
 'ΛΔΗ ν Γ. Έις Έρωτα 
 
 Μεςονυκτι'οις τοθ' ωραις, 
 στρέφεται οτ "Αρκτος tJStj 
 κατά %εΐρα την Βοώτου, 
 
 ^ — ν — 
 
 ν/ - ν/ 
 
 V/ — V/II— V/ — — 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 Πότε μεσονύκτιοιε ωραΐί, ore Άρκτος ήδη στρέφεται κά~ 
 τα την χείρα Βοώτον, 
 
 TRANSLATION. 
 
 ODE III. On Cupid. 
 Once at midnight hours, when the constellation-the-Bear 
 is already turning- itself- round at the hand of Bootes, — 
 
 1. μεσονυκτίου troff &pais,at mid- 
 night hours once, that is, sometime 
 formerly in the middle of the night, 
 without declaring the exact hour. 
 The metre of this Ode differs in 
 nothing from that of the two pre- 
 ceding Odes, except in having an 
 anapaest instead of an iambus or 
 spondee in the first foot: yet this 
 difference gives a new character 
 to the verse, — although it might 
 likewise be scanned as the form- 
 er two Odes, — and in a variety of 
 ways besides. I scan it as dime- 
 ter Ionic (or, rather Epionic,) a 
 Minore, although not one Ionic 
 foot occurs in the whole Ode, — 
 the first foot being always a pae- 
 on tertius ; and the last a second 
 epitrite; together forming an *A- 
 νάκλασις, — equal in time to two 
 Ionic feet. This species of verse 
 is peculiar to Anacreon, and de- 
 viates, in some degree, from the 
 Minor Ionic standard of all the 
 other Greek poets. Moreover, 
 
 the figure Synapheia appears not 
 to be regularly called into use to 
 lengthen the short syllables oc- 
 curring at the end or verses. 
 
 2. "Apktos, the Ursa Major, that 
 is, the Great Bear, sometimes cal- 
 led Charles's Wain, a noted con- 
 stellation near to the north pole. 
 As it never sets to us, nor to a- 
 ny part of Greece, it has the sem- 
 blance of turning round, — which 
 of course it actually does. 
 
 3. κατά χείρα, here, there is an 
 ellipsis of rty, the, the legitimate 
 ordo of construction being κοτά 
 tV χείρα t>V Βοώτου, at the hand, 
 that of Bootes. This Bootes is a 
 Constellation near to the Great 
 Bear, — and is sometimes called 
 " Arctophylax, the bear's keeper" 
 and sometimes again " Bubulus, 
 the herdman." Being nearer to 
 the pole than the "Ursa Major, 
 or Great Bear," the Bear may in 
 strictness be said to turn itself 
 round Bootes. 
 
14 
 
 in. 4. Ανακρέοντος 
 
 μερόπων δε φΰλα, πάντα 
 κεσ,τ&ί. κοπώ δ&μ,εντα? 
 τοτ "Ερως, επιστηθείς, μευ 
 ευρέων εκοπτ όγ/ηα,ς. 
 Τις, εφψ, §ύρας ά,ρά,σσει ; 
 Κατά μ,εΰ σείσεις όνείρους. 
 
 
 \^ W — W 
 
 \J \s — ν^ 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 
 δε πάντα φύΧα μέροπων κέαται δαμέντα κόπω' τότε Έ- 
 
 ρω$ €7τίσταθ€ί9 εκότττε οχηαε Γύρεων μεν, Tty, έφην, α- 
 
 ράσσει *&vpa$ ; Κατάσχισει,ί oveipovs μεν, 
 
 TRANSLATION. 
 
 and all tribes of articulate- voiced-beings lie-extended over- 
 come by toil : then Cupid, having-drawn-near, knocked at 
 the fastenings of my door. Who, said I, rattles the door ? 
 Thou wilt interrupt my dreams. 
 
 come up unexpectedly — having ad- 
 vanced of a sudden. 
 
 7. Svpsu», in the Ionic dialect 
 
 4. τροπών, of speakers or voice 
 dispartites, simply, of folks, — so 
 called, because endowed with a 
 voice capable of articulating syl- 
 lables ; else, as others say, from 
 the great diversity of face in the 
 human species. Μέροψ is clear- 
 ly derived from μύξω, I divide or 
 I distinguish, and οψ, the voice or 
 eye or countenance or look. The 
 sense in which the latter word is 
 here to be taken is certainly not 
 apparent. 
 
 5. κεατα», in the Ionic dialect 
 for Kuvrut, they, in the plural num- 
 ber ( namely, φυλά, the tribes) lie- 
 extent: here the neuter nomina- 
 tive case plural φνλα, has a plu- 
 ral verb, — a construction, which, 
 comparatively is rather rare in 
 the GreeK language. 
 
 6. "Εζωί,ιτησταθικ, Cupid, hav- 
 ing-placed-himself near, —having 
 
 for $t/p«v — understand των, of the 
 doors of me, that is, of my door. 
 In Anacreon's days and country, 
 the doors of houses generally o- 
 pened in halves, an under and an 
 upper half: — όχνιας Ionice for ό- 
 χίας, fastenings or bars. 
 
 9. κατά μιυ σχίσας, by tmesis, 
 for μεν κατασχίσε»? . Several co- 
 pies, indeed, have σχί Jek, in the 
 present tense, thou breakest or in- 
 terruptest ; but this the metre re- 
 jects. Barnes and a few others 
 contend for σχ\σας, having broken 
 or interrupted; which is certainly 
 congenial enough to the sense, — 
 and unobjectionable, also, in o- 
 ther respects, — provided only it 
 had the concurrence of any one 
 manuscript. 
 
ΤΗΙΟΤ ΜΕΛΗ. III. 10. 
 
 15 
 
 10 
 11 
 12 
 13 
 14 
 15 
 16 
 17 
 18 
 
 Ό i' "Ερως, Ανοιγε, (pvjcr), 
 βρέφος ειμ,\ μλ) φίξησαι' 
 βρρχρμα,ι δε, κάσεΚψον 
 κο,τα, νύκτα, πεπΚά,νη[λα,ι. 
 Ελέησα, τα,υτ ά,κούσα,ς, 
 άνα, έ' ευθύ λύ%νον όίψα,ς 
 ά,νέωξα,, κοΛ βρέφος μεν 
 εσορώ, φέροντα, τόζον, 
 πτέρυγας τε καλ φα,ρέτρψ. 
 
 w w — w — w — w 
 
 w w — w 11— w — w 
 
 w w — w — W — W 
 
 — i— 
 
 WW — V — W — — 
 
 ν/ ν/ — ν — w — w 
 
 WW- w — V — W 
 
 WW — w I — w — — 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 Δε 6 Έρω$ φήσι, avoiye, είμι βρέφος, μη φο§ήσαΐ' βρέχο- 
 μαι δε, και 7Γ€7τ\ανήμαι κάτα ασε\ηνον νύκτα. Ακουσας 
 ταύτα εΧεησα, δε εύθυ ανάψα$ Χύγνον ανεωξα, και μεν 
 έσορω βρέφος, φέροντα τόξον τε πτέρυγας και φαρέτρην. 
 TRANSLATION. 
 
 But Cupid says, "Open, — I am a baby, be not afraid: t 
 am drenched too, and-have-been wandering in the moon- 
 less night." On-hearing these-things I felt-compassion ; 
 and having instantly lighted a link 1 opened,— and lo ! I 
 look-upon a babe bearing a bow, and wings and a quiver. 
 
 12. βρέχομαι, 1 am wet, — either 
 from the dews of night, or from 
 rain that had fallen after sun-set. 
 
 13. πιπ'κάη,μ.α.ι, I have wander- 
 ed, or, I have been wandering, that 
 is,i have missed my way. Πλανάω 
 in the active voice, it may be ob- 
 served, signifies I make to wander 
 or err; but πλανίζομαι in the mid- 
 dle voice means I my self err, or, I 
 miss my way. 
 
 14. ακονσ-ας, I having heard; or 
 familiarly, I, upon hearing — . 
 
 1.5. Another instance of the fi- 
 gure called tmesis occurs in this 
 verse with very happy effect. 
 
 17. Ίσορω, I look upon or I look 
 down upon : — φέροντα, bearing or 
 
 carrying .• here the participle is 
 of the masculine gender, though 
 its anteponent βρέφος be neuter ; 
 and this figure of speech, which 
 the Greeks denominated Σολοι- 
 χοφανες, hath here great beauty. 
 For, Anacreon had, by the light 
 of his torch, now seen the βρε- 
 φοΓ,— and knew it to be a boy ; 
 he wishes to apprize the reader 
 of this circumstance as early as 
 possible, and takes this opportu- 
 nity of so doing. Yet many have 
 censured the genuine reading,— 
 and maintained that the true lec- 
 tion is φίρον ίε, — perfect (it must 
 be allowed) as to grammar, — but 
 defective in elegance. 
 
16 
 
 in. 19. Ανακρέοντος 
 
 19 
 20 
 9Λ 
 22 
 28 
 24 
 25 
 26 
 
 Πα/5α 5' Ιστιψ κσ,θίξα,ς, 
 ' πα,λά/Αοι,ισΊ %εΐρα,ς άυτοΰ 
 Ι άν^δαλπον, εκ Si χαίτης 
 
 \ ο\πέθλι§ον ύγρον ΰ$ωρ. 
 Ό 8\ έπε) κρύος μεθήκε, 
 Φέρε, φη<τ\ χειράσω^εν 
 τ68ε τόξον, ες τί μοι νυν 
 βλάβετα,ι βρο/χ/ίσα, νευρή. 
 
 \j \j — w 
 
 w ss — \S 
 
 \S \J — \J 
 
 N/ SJ — ■ W 
 
 W W — \J 
 
 W W — \J 
 
 \J W — V» 
 
 W W — V* 
 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 Δε καθίξας πάρα ϊστιην, ανεθάλπον χείρας αύτον πα- 
 \αμαίσι, δε απεθ\ί£ον υηρον νδωρ χαίτης. Δε ό, επει 
 κρύος μεθήκε, φήσί, φέρε, πειρασωμεν τόΒε τόξον, ες τι 
 νυν βραχείσα νεύρη β\ά£εται, μοι. 
 TRANSLATION. 
 
 And, having-made-him-sit-down by the fire, I warmed his 
 hands with my palms, and 1 wrung the dripping water 
 from his hair. 
 
 But he, when the chilness abated, says, " Come, let us 
 try this bow, to what-extent now the drenched string is 
 injured for me." 
 
 19. larUv in the Ionic dialect 
 for Ιστίαν, the hearth or fire ■place, 
 also, the fire on the hearth : — χ»• 
 θί|αί in the Doric dialect for χα- 
 βίσ-ας, having seated him, or having 
 made him sit down. To καθί|<χς, 
 the reading of the Vatican Ma- 
 nuscript, several of the learned 
 have objected*; and some of them 
 not liking χαΒίσ»ς } have contend- 
 ed for καθίσσας. Barnes, howev- 
 er, edited καθίσ•α$, — which Dun- 
 bar defends, — and lengthens the 
 penult by ictus : but this is seek- 
 ing controversy without cause. 
 
 23. eVe» χξύος /Λίθίίκε, when-that 
 the cold receded or was gone from 
 him: this verb may be taken ei- 
 
 ther in a neuter sense, — or in an 
 active ; if in the latter, we must 
 understand, for object, the accu- 
 sative case Ιαυτο, itself,— namely, 
 the cold. 
 
 25. ε? τί /xoi ivt, to what degree 
 for me at present. In room of ες 
 τ», most of the early copies have 
 εστί, some with and others with- 
 out a stop after ivv. This εστί 
 Stephens changed into είτ», whe- 
 ther. 
 
 26. /3λά£ετα», is hurt or damag- 
 ed: — βξαχίΤσα ταυςη, the drenched 
 string : together then, the soaked 
 string is-hurt or is-injured .• more 
 freely, the string is worse for hav- 
 ing been wetted. 
 
ΤΗΙΟΤ ΜΕΛΗ. III. 27. 
 
 17 
 
 27 
 28 
 29 
 30 
 31 
 32 
 
 Ύσ,νύει 8ε, κσ,ί με τύπτει 
 μέσον ψτονρ, ώστε ρ οίστρος. 
 'Ανά ί* αλλετα/ καχάζων 
 £ενε, 5* !/Τ£, συγχάρηθι* 
 
 κέρας ά§λοι§ες μεν εστί, 
 συ 8ε χσ,ρΰίψ πονήσεις. 
 
 ν» ν — ν 
 
 ν^ \^ — ν/ 
 
 <-« ν - ν 
 
 V V "• W 
 
 ν ν •- ν/ 
 
 w ν/ — ν 
 
 V» — ν> 
 
 W — — 
 
 w — ν^ 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 ide τάννει, και τύπτει με μέσον ήπαρ, ωσττερ ο ίστρο s. Δε 
 avrfSXeraL καχάξων δε, είπε, σνγχαρήθί ξένε' κερα$ μεν 
 εστί άβλαβα, δε συ κάρδίην πονήσειε. 
 
 TRANSLATION. 
 And he bends, and hits me in the middle of the liver, as 
 it were a gadfly. And up he jumps laughing : and, quoth 
 he, " Rejoice-with-me, mine-host : the horn indeed is un- 
 damaged, and thou at heart shalt smart." 
 
 27. τλιφε», he stretches the string, 
 that is, Cupid bends his bow armed 
 with an arrow. 
 
 28. μίσον ηπαξ, the mid liver, or, 
 as to the middle of ike liver. By 
 νπα,ξ, however, any part at plea- 
 sure of the gastric region may be 
 understood; or any of the viscera 
 about the diaphragm: — ωσπερ όΓ- 
 στρος, like-to a gadfly, that is, the 
 pain occasioned by the piercing of 
 
 the arrow was similar to the smart 
 felt from a gadfly puncturing the 
 skin in a sensitive part. 
 
 29. coot &' αλλετα», for άνίλλΕ- 
 τα» ίε, and he starts-up — upon his 
 legs or feet. 
 
 30. συγχάξτβι, rejoice-together^ 
 with-me, that is, congratulate me 
 or partake of my joy. 
 
 31. κίξα,ς, the horn, — meaning", 
 the bow, which was either tipped 
 or mounted with horn, or consist- 
 ed entirely of that substance. 
 
 32. v.cifilriv, as to4he heart: ττο- 
 »ίσ-ιις, thou shalt ake or pine : in 
 other words, thou shalt be sore at 
 heart or shalt be love sick. 
 
18 
 
 ΐν. ι. Ανακρέοντος 
 
 ΧΙΔΕΤ Δ'. Έι$ 'Εαυτόν. 
 
 ΈΠΓ [ωρσίνα,ις τερείνα,ις, 
 επϊ λωτίνα,ις §ε ποίαις, 
 στορεσα,ς, §ελω τροπίνειν 
 6 δ' "Ερως, χιτώνα, δησ-σ,ς 
 ύπερ ά,υγενος παπυρω, 
 μέθυ [λοι 8ι&κονείτω. 
 
 - ^ - ^ — 
 
 ν* ν — ν 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 Uropeaas έτη, τερείναις μνρσιναι,?, Be ίττι \ώπναι$ ττοί- 
 ais, ^sekw irpoirivuv' δε 6 Έρως, hrjaas χιτώνα virep αύ- 
 χεζ /oy παπί) ρω, Βιακονείτω μέθν μοι. 
 
 TRANSLATION. 
 
 ODE IV. Upon Himself. 
 Reclining upon tender myrtles, and upon lotus herbs, 
 I wish to carouse: — and let Cupid, having tied his tunic 
 over the neck with Egyptian-bass, administer wine to me. 
 
 1. \π\ μνξσΙνΰΜς Ύίξΐίνοας, on de- j ed: irpoirluciu, to quaff — to house — 
 licate myrtles, that is, on a bed of | to drink deep j but this verb more 
 myrtle branches : not unlike the j generally signifies " to drink the 
 " fronde super viridi" of Virgil; \ first" or'" to drink unto,"— hence 
 only, here, the couch consists of j some take the sense^here, to be 
 myrtle boughs and lotus foliage j "to drink to friends." 
 
 mixed. — The Metre of this Ode 
 is the same as that of the preced- 
 ing, — Ionic minor acatalectic. 
 
 2. £7Γί λωτίναις ό\ ποίαις, on lo- 
 tus herbs likewise, meaning, upon 
 leaves of the lotus plant — mingled 
 with the fresh-gathered boughs of 
 myrtle; or freely, upon melilot fo- 
 liage, also. — Instead of Si in this 
 verse, many copies have rt . 
 
 3. στοξίσας, having outstretched, 
 here understand ψαντον, myself 
 Therefore we may say, reclining 
 or stretching, that is, self-stretch- 
 
 5. ΰπϊξ αυγινός, over neck, that 
 is, over-above the shoulders or at 
 the collar : — παπύξω, with papy- 
 rus or Egyptian flag,— meaning, 
 with the thin rind of the Egyptian 
 sedge or flag. This rind was used 
 by the ancients like ribbon, or 
 tape, — and servants wore it in 
 knots or had their clothes trim- 
 med with it, as a mark of their 
 inferiority. Here Cupid is invi- 
 ted to act in the capacity of a 
 servant, and to appear in a suit- 
 able dress. 
 
ΤΗΙΟΤ ΜΕΛΗ. IV. 7. 
 
 19 
 
 7 
 8 
 9 
 10 
 11 
 12 
 13 
 14 
 15 
 
 Ύρο%ος ά,ρ/Αο,τος γα,ρ <5?α, 
 βίοτος τρέ%ει κυλκτθείς' 
 oXlyrj δε κεκτόμεσ-θα, 
 κ&νις, όστεων λυθέντων. 
 Ύί σε δει λίθον μύριζε ιν ; 
 Τ/ δε yjj %εειν μ,ά,τ&ια, ; 
 Έ^έ μάλλον, ως ετι ζώ, 
 μύρισαν, ρόδοις δε κρά,τα, 
 πύκασον, κάλει δ' ετα,Ίρψ* 
 
 ν w- W — W — W 
 
 w w — ^ιι— w — — 
 
 WW- W — W — W 
 WW — W — W — — 
 
 - — i— 
 
 WW — w — w — — 
 
 ww — w I— w — w 
 ww — wl — W — — 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 Tap βίοτος, οία τρόχος αρματο?, τρέχει κυ\ίσθεί$. Ae 
 κεισομεσθα όΧιηη κόνι$, όστεων Χυθέντων. Tl Bet σε 
 μυρίζειν Χίθον ; Αε τι χέειν ματαία <yrj ; ΜάΧλον μύρι- 
 σον έμε, ώ? έτι ζω, Be ττύκασον κράτα poBois, Be καΚει 
 εταίρην, 
 
 TRANSLATION. 
 Because life, like the wheel of a carriage, runs rolled-along : 
 and we shall repose — a little dust, — our bones dissolved. 
 Wherefore does-it behove thee to anoint a stone ? And 
 wherefore to pour vain-libations on the ground ? Rather 
 anoint me, whilst yet I live, and heap my head with roses, 
 and call a sweetheart. 
 
 7. olx, the nominative plural 
 neuter, assumed adverbially. 
 
 9. Some give κίΐσό/Λίθα, badly. 
 
 10. x.o»iq,dust, either with allu- 
 sion to the ashes collected at the 
 funeral pyre, else to the dust to 
 which the buried crumble : — °V- 
 τεαιν λνΰίντΜ, the bones being (or, 
 having been) dissolved, by the fire 
 of the pile, which is most likely; 
 or by the hand of time. 
 
 ll.fi σε 3i? ; why behoves it thee 
 or what occasion is therefor thee ? 
 that is, what need hast thou or in 
 what can it benefit thee ? ■ — λίθον 
 
 ρν^ζαν, to anoint a stone, with al- 
 lusion to a custom that prevailed 
 of anointing the burying ground 
 and tomb-stones with sweet un- 
 guents. 
 
 12. pccraZx, things vain or su- 
 perfluous, with reference to the li- 
 bations it was customary to pour 
 out upon the graves of departed 
 friends, — peace-oiferings to their 
 ghosts, and to the gods below. 
 
 15. κάλει & ίταίρν>ν, and call a 
 female-companion for me, that is, 
 a sweetheart or mistress — to keep 
 me company. 
 
20 
 
 ιν. 16. Ανακρέοντος 
 
 16 
 17 
 18 
 
 Tip) ν, "Ερως , εκεί α? ά,πελθεΐν, 
 ύτο νερτέρων χορεία,ς, 
 (ΓκεΰώσΌ,ι %ελω μερίμ,ν&ς. . 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 Ώρνν με απίΧθειν etceL f 'Ep(us, viro ^opeias veprepcov, *&e- 
 λω atceSaaat, μερίμνα?. 
 
 TRANSLATION. 
 
 Before-that I go-away yonder, Cupid, down-to the choirs 
 of those-beneath, I wish to disperse my cares. 
 
 16. Of this verse there are va- 
 rious readings, as, irfir, if ν σι, 5βΓ 
 μ, ά.πιλ$ίΐν,Άηά Trftv spuen διΐ/Λ ά- 
 ΑτελθίΓν, and πρϊν, Ίγω σι, 5εΓ /*'<*- 
 ατελθεΓ», and nfiv εκιΓσε ίβΓ μ αττιλ- 
 θε*ν, — which last is the conjec- 
 ture of Brunck in his second e- 
 dition of Anacreon. The lection 
 here given is the vulgate, and, if 
 I judge rightly, the best: — *rpt», 
 
 before-that or previously-to, is con- 
 strued with an infinitive mood ; 
 therefore «τρί»» άτσίλΟιΓν must sig- 
 nify, before going-away, or, previ- 
 ously-to departing -hence ; and, as 
 the first person is the subject, μ\ 
 is the accusative case before the 
 infinitive mood— prior to me go- 
 ing-hence, that is, before my depar- 
 ture from where I am. 
 
ΤΗΙΟΤ ΜΕΛΗ. V. 1 
 
 ϊ*ΔΗ ν Ε'. Έις'Ρόδον 
 
 ΤΟ λ ρόδον το των 'Ερώτων 
 μ,ίξωμεν Διανύσω' 
 
 το ρόδον το καΧΚιφυΚΚον 
 κροτάφοισιν οΧρμοσα,ντες, 
 πίνω μεν o\Spo\ γελώντες. 
 'Ρο'δον, ω φεριστον όίνθος' 
 ρο'δον, εία,ρος μέλη pot,. 
 
 21 
 
 ν ν — ν/ — «^ 
 
 sj ν — w — ν-» 
 
 V Κ/ W» ν 
 
 ν-> — \s — «»> 
 
 ν «-» — w — ν» 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 Μιξώμεν το pohov το των Ερώτων Α ιονύσω' άρμοσάντε? 
 το potov το καΧλίφύΧλον κροταφοίσι, ττινώμεν <γε\ώντ€ί 
 α&ρα. 'Ρόδον,ω φεριστον άνθ or ρόΒον, μέλημα eiapos. 
 
 TRANSLATION. 
 
 ODE V. On the Rose. 
 
 Let us mingle the Rose, the Rose of the Loves, with 
 wine:— having-fitted the Rose, the beautiful-leafed Rose, 
 to our temples, let us drink,— laughing cheerily. Rose ! 
 Ο exquisite flower J Ο Rose ! Thou favourite of Spring ! 
 
 1. το podoy— το των Έφωτων, the 
 rose, that of the Cupids or Loves. 
 The Metre of this Ode is,— like 
 that of the preceding, — Dimeter 
 Ionic a Minore ; but with a great- 
 er variety of feet, than the poet 
 generally introduces. Thus the 
 second verse begins with a Mo- 
 loasus, — and the twelfth, with a 
 Trochaic Syzygy. The first foot 
 of the fifth verse is either an Io- 
 nic a Majore, or a third Epitrite, 
 at pleasure ; and the second foot 
 consists either of an Ionic a Mi- 
 nore (the last syllable being long 
 by position), a pseon tertius,or a 
 trochaic syzygy. The fourteenth 
 and fifteenth verses are pure Di- 
 
 meter Ionics a Minore ; and with 
 this foot, likewise, does the thir- 
 teenth verse begin, by synaeresis 
 (as it will appear) of the first two 
 syllables of Διόνυσι. 
 
 2. pfoyAE» Διονύσιο, let us mingle 
 with Bacchus, that is, with Wine. 
 For /*»! -utv, Baxter edited uvu- 
 μίξωμη^ ind viewed Διανύσω as a 
 trissy liable, to the murder of the 
 metre. The first syllable of Δι- 
 ονύσω being common, some scan 
 this verse as a Pherecratic. 
 
 5. In place of ιτινω^ν, Barnes 
 has Ατίνο/χιν,ηοΓ well: — a£poc, soft- 
 ly, that is, merrily hut not loudly. 
 
 7. ueXn/jLu, care, fondling, favo- 
 rite, darling. 
 
22 
 
 v. 8. anakpeontos 
 
 8 
 9 
 10 
 11 
 12 
 13 
 14 
 15 
 16 
 
 'Ρο'ία και %εοΐσι τερπνά,. 
 'Ρο'ία πα,ΐς ό της Κυθήρης 
 στέφεται καΧοις Ιούλοις, 
 
 Ύ^&ρ'ιτεσσι συγχρρεύων. 
 Χτεψον ουν μ,ε, κού Χυοίζων 
 πούρα, σοΐς, Διόνυσε, σηκοΐς, 
 μετο\ κούρης βα,θυκόλπου 
 ρο8ίνοισι στεφ&νίσκοις 
 πεπυκα,σμενος γρρεύσω. 
 
 S^ ν/ — ν_/ — ν/ — ss 
 
 ^ \J — V - \J —. — 
 
 <»/ W — W — \J — — 
 
 W ^ — >•/ — V — — 
 
 — V — ^ — <-> — — 
 
 νυ- "~|| — ^ — — 
 
 v^ v/ — — ν ^ — — 
 
 \^ V/ — ""IK' W — — 
 
 V \S — \S — V — — 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 'ΡόΒα τερπνά και ^ϊοίσι. Uais 6 τη$ Κνθήρης στέφεται 
 κάλοι,? iovKois ρόΖα, συνορεύων Χαριτεσσι. £τέψον 
 με ουν, και, Χνρίζων πάρα σοι* σήκοιε, Διόνυσε, πεπυ- 
 κάσμενος ροΒινοίσι στεψανίσκοΐί γορενσω μετά βαθύ• 
 κόΧπου κονρη$. 
 
 TRANSLATION. 
 
 Roses — delightful even to the Gods ! The boy, he ef Ve- 
 nus, is crowned in his pretty ringlets as to Roses, dancing- 
 in-concert with the Graces. Crown me, therefore, — and 
 minstrelling near to thy fanes, Bacchus, thickly-adorned 
 with rosy chaplets will I dance with a full-bosomed maid. 
 
 which Barnes, in troth, changed 
 into λνρίσσω, — and a later editor 
 
 9—10. lo&a, ατίφεται καλοΐς 
 
 ούλοκ, crowned, as to roses, in his 
 beautiful ringlets or tresses, — sy- 
 nonymous with, ρόίοκ στίφιτοα 
 καλούς ίούλους, crowned with roses 
 as to his beautiful tresses. 
 
 12. In lieu of στεψο» ουν, which 
 some commentators (strange e- 
 nough !) call an anapaest, we find 
 στίφωμεΟΪ ουν (followed by a full 
 stop) in one or two editions, — a 
 reading as bad in point of metre 
 and of sense, as it is destitute of 
 authority. In the end of the line 
 several manuscripts have λυρίσω, 
 and a few λνρφ, — the former of 
 
 into λνρίξω, like χαδί|«ί, Ode III. 
 verse 19, above. 
 
 13. In this verse the first two 
 syllables of Δύνυσι are contract- 
 ed into one. 
 
 14. If it should be thought, that 
 the second foot of this verse, and 
 of the next, had better be each a 
 second Epitrite, than an Ionic a 
 Minore, there is no impediment 
 in the way,sinee the first syllable 
 of βΛ$νχόλπον, and of <τπφα.ήσχοις 
 respectively, may be lengthened 
 by poetic licence. 
 
ΤΗΙΟΤ ΜΕΛΗ. VI. 1. 
 
 23 
 
 '£ΔΗ ν Στ. Κώμος. 
 
 Στεφα'νους μεν κροτάφοκτι 
 ρόδινους συνα,ρμόσα,ντες 
 μεθύομεν o\Spk γελώντες* 
 ύπο βα,ρ§ίτω δε κούρα,, 
 κα,τα,κία~ο~οιο-ι βρέμοντα,ς 
 πΚοκά(λ,οις φέρουσα, Πυρσούς, 
 %λιδα,νόο-φυρος χορεύει" 
 
 »»/ \s — — w ν — 
 
 ν ν> — ν» 
 
 >-» ν — <*/ 
 
 ν» vy — \y — w 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 Συναρμοσάντες ρόδινου? στέφανου? μεν κροταφοίσι με- 
 θύομεν γεΧώντε? α€ρα• 8ε κούρα, φέρουσα Πυρσού? βρε- 
 μόντα? κατακισσοίσί πΚοκαμοις, χορεύει, χΧιΒανόσφυ- 
 ρο9 ΰπο βάρ£ιτω• 
 
 TRANSLATION. 
 
 ODE VI. The Revelry, 
 
 HAViNG-fitted rose wreaths indeed to our brows quaff- 
 we-wine, — laughing gayly : and a maid, holding thyrsuses 
 rustling with ivy spirals, dances delicate-ancled to the harp : 
 
 1. στεφάνους, chaplets, wreaths, 
 garlands, crowns : — *ροτά<ρο»σ», to 
 the temples of the head, or, to the 
 brows. The Metre of this Ode is 
 like that of the preceding. 
 
 3. μ.ί§ΰομ.ιν, we become-mellow- 
 tvith-wine, — ice drink-deep, — we 
 wax inebriated. The long syllable 
 of the paeon tertius, whereof the 
 first foot indeed ought to consist, 
 is here resolved into two short 
 syllables. The second foot again, 
 is a ditrochee, — the final syllable 
 of ctGf a, being made long. 
 
 4. ίπο βα,β,'πω, under the lyre, — 
 because the performer sat eleva- 
 
 ted : freely, to the lyre, that is, to 
 the music of the lyre. 
 
 5. In room of βρψοντας, rust- 
 ling, Barnes (fond of innovation 
 and of change) edited βρυοντας, a- 
 bounding or being-plentiful. — In 
 many editions the reading is χατά 
 χίσσοισι, — as though the preposi- 
 tion belonged to βρψοντας. 
 
 6. πλοκάμοις, with twistings or 
 curls y alluding to the spiral form 
 of the ivy and to the consequent 
 curling of the leaves, round the 
 handle of the spear, which when 
 thus decorated was called a thyr- 
 sus, or lance of Bacchus. 
 
24 
 
 VI. 8. ΑΝΑΚΡΕΟΝΤΟΣ 
 
 8 
 
 9 
 10 
 11 
 12 
 13 
 14 
 15 
 16 
 
 &£ρογ/χ,ίτα,ς 8* α^α κούρος, 
 στομάτων ό,δύ πνεόντων, 
 κατά τζΎ\κτ'Λων ά,θύρων, 
 Tcpoyj-ai λ/γ^Γαν όμφάν. 
 Ό $' "Ερως ο γβυο-ογμίτσ,ς, 
 [Αετο\ του καλοί) Λυσ,ίου, 
 [λετο\ της καΧης Κυθηρης 
 τον ειτηρα,τον γερα,ιοΐς 
 κώμον [άέτειοΊ γρ,ίρων. 
 
 >/ \* — - W ν/ — \/ 
 
 _ \J _ _ 
 
 iw ν» — ^ — «-» — 
 
 ν/ - ν/ 
 
 WW- w — vy — — 
 
 ν/ - W 
 
 ν— W - 
 
 — — ν 
 
 THE ORDER, AND ENGLISH ACCENTUATION, 
 δε ά&ρογαίτας κούρος άμα άΒυ-πνβόντων στομάτων, αθύ- 
 ρων κάτα πήκτι,ΰων, πρό%€€ΐ Xiyeiav όμψαν. Ae 6 Έρως 
 6 χρυσοχαίταε, μίτα του κάλου Λυαίου, μίτα της κάλης 
 Κυθήρη?, χαίρων μετείσι τον κώμον έπήρατον yepaCois. 
 TRANSLATION. 
 
 and a soft-haired youth the while, — of sweetly-breathing 
 lips,—- playing upon Pandaean-pipe pours-forth the shrill 
 strain. And Cupid, the golden-haired, — with handsome 
 Lyaeus, — with beautiful Cythera,— rejoicing, attend the 
 revelry grateful to the old. 
 
 10. κατά Trwrwwv, on pipes or 
 reeds, that is, on the mouth organ 
 or shepherd' s pipe. Yet some cri- 
 tics would have it that the πηχτ^ 
 was a stringed-instrument, — the 
 same with the Lydian μάγα^ς — 
 contrary both to the context, and 
 to the evident derivation of the 
 word,— namely, from irnyvvu, or, 
 nrvyivpx, I conjoin or fasten-toge- 
 ther, — several pipes into one. 
 
 13. jxeT<* του καλοί? Avet\ov ,with 
 the handsome, or, the comely Lyce- 
 us, that is, with Bacchus, — so cal- 
 led from λίαν, to loose or unbind; 
 for-as-much-as wine, over which 
 Bacchus presides, both looseneth 
 
 the mind from cares and disenga- 
 ges it from melancholy. 
 
 14. /*ϊτα Κυθίρυς, with Cythe- 
 ra, a name given to Venus from 
 the island to which she owed her 
 -birth; if rising from the foam of 
 the sea can be termed birth. 
 
 15. Ίπίιρατοψ yepaioii, lovely (or 
 agreeable) to the aged, that is, de- 
 lightful to old men. 
 
 16. /xiTuo-i (plural), are present 
 at, including with Cupid the two 
 others, namely, Bacchus and Ve- 
 nus, though in the genitive after 
 the preposition, //«τα : — 9Q?'l*"> 
 (the singular number) rejoicing, 
 with allusion to Bacchus only. 
 
ΤΗΙΟΤ ΜΕΛΗ. VII. 1. 
 
 25 
 
 \s w — w — V 
 
 1 'ΤΑΚΙΝΘΙ'ΝξΙ με paSSep 
 
 2 y/xXairwg "Ερως ρα,πίζων 
 
 3 j έκεΚενσε συντρο%ά,ζειν. 
 4 1 Δ/α 3* o£icov /*/ άνα,ύρων, 
 
 5 ζυΚ6%ων τε κοω φα,ράγγων, 
 
 6 τροχάοντα, τεΐρεν Ί8ρώς. 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 r Ep<os 9 ραπίζων μβ χάλεπω? νακίνθίντ) ρά§Βω, εκεΧβνσε 
 συντρο^άζπν. Ae ΐδρωε reipe μβ τρογαοντα Ζία όξβων 
 ανανρων, re ξνΧοχων, και φαράηηων. 
 
 TRANSLATION. 
 
 ODE VII. On Love. 
 Cupid, hitting me smartly with hyacinthine rod, bade 
 me to run with him. But fatigue overcame me running 
 through rapid torrents, — and through coppices, and dales. 
 
 1. vukhiQUv) pu<cL•, with hyacin- 
 thine switch or rod, that is, with 
 a stalk or flower-stem of the iris or 
 swordgrass. As the hyacinth (by 
 us termed the Iris or American 
 flag) was sacred to Cupid, — the 
 poet very appropriately uses the 
 expression νακιαΜη paQL•. 
 
 2. γαΚιπως, smartly, that is, so 
 sharply as to induce a degree of 
 pain : — ραπίζων, smiting or strik- 
 ing; but most editions have βα- 
 Μζων, going, — the error of some 
 early copyist» — Cupid going with 
 difficulty / Heyne changed βαδί- 
 ζω* into βαδίζοντ, — so as to refer 
 to Anacreon, as follows : Cupid, 
 with a hyacinthine switch, order- 
 ed me, going with-difficulty , to run 
 or race with him. This reading, 
 
 although by no means bad, does 
 not convey the full, and perfect, 
 sense which the change of βαδί- 
 ζων, into ραπίζων, produces with- 
 out affecting indeed the sound of 
 the verse in any material degree. 
 I have, therefore, followed the 
 Leipsic edition of 1819. 
 
 4, λα o£tuv αναυρων, across (or 
 rather, through) rapid torrents: — 
 for although οξύς generally sig- 
 nifies sharp, yet it has sometimes 
 the import of ωκνς, swift or rapid, 
 — especially if sharpness be link- 
 ed in idea with' swiftness. 
 
 6. In place of rsTpsv Ιϊρως, sweat 
 (or fatigue) overcame me, the vul- 
 gate lection is veTptv υδρος, the hy- 
 drus (or water-snake) pierced me, 
 that is, bit me—- allegorically. 
 
 Β 
 
26 
 
 νιι. 7. Ανακρέοντος 
 
 7 
 
 8 
 
 9 
 
 10 
 
 11 
 
 KpaSiTj 8ε ρινός ά,χρις 
 ανέβαινε, καν απέσξην. 
 Ό 8* "Ερως, μέτωπα, σείων 
 
 ά,πα,λοΐς πτεροΐσιν, είπε, 
 συ yap ου 8ύντ} φιλησα,ι. 
 
 -II 
 
 SS \* — w 
 
 Κ/ ν» — ν/ 
 
 — \^ — \s 
 
 ι 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 
 Δε κράΰιη ανέβαινε aypis pivot, και αν απέσ§ην. Δε 6 
 Έρως, σείων μέτωπα απαΧοιε πτεροίσι, είπε, <yap συ ου 
 hvvr) φιΧήσαι. 
 
 TRANSLATION. 
 
 And my heart was-mounting even to my nostrils, — and I 
 should have gone-off. But Cupid, fanning my forehead 
 with his little wings, said, "For thou art not able to love." 
 
 11. yocp,for, — that is, I fan thy 
 forehead with my wings, because I 
 
 8. a» ocrrtcQmv, literally, I should 
 have gone off, freely, I should have 
 
 fainted or died. 
 
 9. ο ο Έρως, μίτων et σι\ωι, but 
 Cupid, fanning my forehead, so as 
 to cool and refresh me, and thus 
 prevent me from going-off. 
 
 10. άτταλοΤς πτεροΐσι, with tender 
 (that is, with soft or infant) wings. 
 Here απαλός means, tender, from 
 being young, — or delicate, com- 
 bined with softness, — or little, be- 
 cause not (as yet) arrived at full 
 growth. By little, in this sense, 
 are implied the several qualities 
 of youthful tenderness, of delicate 
 softness, and of want of size. 
 
 perceive thee to be, now, on the eve 
 of fainting, through thine inabili- 
 ty to keep up with me. This very 
 abrupt mode (for abrupt it most 
 certainly is) of beginning an ex- 
 pression was quite in the style of 
 the Greeks, — and appears to be 
 the middle, rather than the com- 
 mencement, of a thought, — the 
 first half of which, the speaker 
 may be supposed to have spoken 
 to himself, leaving the hearer to 
 guess at the suppressed portion 
 of the address from the part of it 
 which he actually hears. 
 
ΤΗΙΟΤ ΜΕΛΗ. VIII. 1. 
 
 27 
 
 w \s — w — 
 
 ΏΔΗ Χ H\ 'Εις τον Έα,υτοΰ "Ονεφον* 
 
 ΔΙΑ ν νυκτός έγκουθεύδων 
 
 ά,λιπορφύροις τάττηοΊ, 
 ηεηαννμ,ένος Αυαίω, 
 έίάκουν οΧκροισι ταρσοΊζ 
 $ρόμον ώκύν εκτανύειν, 
 [λετο\ παρθένων άθύρων. 
 
 
 WW — ν/ — \* — 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 Εγκαθεύΰων άλίπόρφνροί? ταττήσί Βία ννκτοί, yeyavii- 
 μενοε Λναίω, ehoicovv εκτανύβυν ώκυν δρόμον ακροίσί 
 τάρσοιε, αθνρων μετά πάρθβνων. 
 
 TRANSLATION. 
 
 ODE VIII. On a Dream of his Own. 
 
 Sleeping upon sea-blue carpets throughout the night, 
 exhilarated with wine, I seemed-unto-myself to be bend- 
 ing a fleet course on my tip toes, — sporting with virgins. 
 
 * Έκ τον εαυτοί) ονειρον, literally, 
 on a dream, that of himself s more 
 freely, upon a dream of his own. 
 
 1 . hot ννκτος, through night, or, 
 throughout a night : — εγχα,ΰεύδων, 
 sleeping uponj here the preposi- 
 tion εν, — in composition with the 
 participle xafiet/^y, that is, with 
 the verb kocQuL•, governs τάπ»}- 
 σι of the next verse in the same 
 case ( the dative ) as out of com- 
 position, \v τά,πησι, on carpets. 
 
 2. αλιπορφνφοις τατπ5<π, on sea- 
 blue carpets, or, on carpets of pur- 
 ple marine, that is, upon carpets of 
 the blue colour of the sea, — else, as 
 some say, upon carpets of foreign- 
 purple, — being richer in tint than 
 
 any which were home-dyed, and 
 termed c< sea-purple or purple-ma- 
 rine" because brought to Greece 
 by sea: thus, in English, we say 
 'sea-coal/ because coal is gener- 
 ally brought to market in ships. 
 
 3. γεγαννμενος, having-become- 
 yladdened, or, being exhilarated .• 
 not, as Baxter very unmeaning- 
 ly translates it, having been made 
 bright, — that is, having -been-r en- 
 dered- glistening. 
 
 4. ακροισι ταρσοΓζ, on extreme or 
 foremost soles, evidently with al- 
 lusion to the part of the feet on 
 which the body is entirely sup- 
 ported in running: freely, how- 
 ever, we employ the more com- 
 mon expression, on tiptoe. 
 
28 
 
 νιιι. 7. Ανακρέοντος 
 
 7 
 8 
 9 
 
 10 
 11 
 12 
 13 
 14 
 
 Έπεκερτ&μουν δε πα,ΐίες 
 άπα,λώτεροι Αυα,ίου, 
 δα,κέθυμ,ά μ,οι λέγοντες, 
 Sto\ το\ς κσ,λάς εκείνους. 
 Έθ^λοντα δε (pikrjcrou 
 φύγον εξ ύπνου με πάντες. 
 Μεμονωμένος δ* ο τλημων 
 πάλιν ηθελον κα,θεύδειν. 
 
 \j w — 
 
 \J \j — 
 
 \y ν — 
 
 ν ν» — 
 
 ν — — 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 
 Δ ε παίΒεε άτταλώτεροί Λναίον επεκερτομουν, Xeyovre? 
 μοί Βακεθυμα Βία eiceivas ras Kokas. Δε εξ νττνον πάν- 
 τες φύηον με εθε\όντα φϊΧήσαι. Δε 6 τΧήμων μεμονω- 
 μένοι ήθε\ον καθεύΒειν πάλιν. 
 
 TRANSLATION. 
 
 And youths — more-juvenile than Bacchus — were-cutting- 
 me-to-the heart, addressing to me soul-biting-expressions 
 because-of those — the fair-ones. But out of my sleep all 
 fled me wishing to love. And I wretched-one, being-left- 
 solitary, wished to go-to-sleep again. 
 
 8. α,παλωτΐγοι, softer or sleeker, 
 that is, more youthful as to person 
 or in appearance. Bacchus was 
 never represented as old, but as 
 nourishing in perpetual juvenili- 
 ty. Thus Ovid addresses him — 
 " Tupuer ceternus." Met. iv. 8. 
 
 11. In this verse, it may be re- 
 marked, £e is accounted long, — 
 partly perhaps by the initial pow- 
 er of the aspirate which follows, 
 but still more by being a mono- 
 syllable after a perfect foot ; be- 
 cause a monosyllable νοτά. after 
 
 a perfect foot, and a caesural syl- 
 lable are acted upon alike by the 
 metrical ictus which they receive 
 in delivery. Different readings, 
 however, have been given, — but 
 only such as are altogether un- 
 deserving of notice. 
 
 12. ς| t/7rvou, from out of sleep, 
 that is, being awoke from my sleep 
 or dream. 
 
 1 3. /xt /%ov#/x£ νος, having been left 
 remaining, that is, finding no one 
 with me .• — ο τλνμ,ων, the wretched 
 or unhappy I. 
 
ΤΗΙΟΤ ΜΕΛΗ. IX. 1 
 
 29 
 
 'φΔΐΓ Θ'. 'Εις Περιστερών, 
 
 ΈΡΑΣΜΙ'Η πάλει*, 
 πόθεν, πόθεν πετκσο%ι\ 
 Πόθεν μ,νρων τοσούτων, 
 W ψρος δέουσα,, 
 πνέεις τε κού ψεκάζεις ; 
 Τ/ <Γ εστί σοι [^εΚη^α, ; 
 
 ν/ » ν - 
 
 w - KS — w - 
 
 V — \\J — ν — 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 Εράσμιη πε\εία, πόθεν, πόθεν πετάσαι; Πόθεν, θεούσα 
 επί ήεροί, τε πνέει,? και ψεκάζει? τοσούτων μύρων ; Δε 
 τι μεΧήμα εστί σοι ; 
 
 TRANSLATION. 
 
 ODE IX. Upon a Dove. 
 Lovely dove, whence, Ο whence art-thou-flying ? Ο 
 whence, careering on the gale, both exhalest and distillest 
 thou so many odours? And what charge hast thou? 
 
 2. π-όθι?, πόΰεν πετασαι, whence, 
 whence art thou flying or soaring ? 
 It was customary with the anci- 
 ents to train pigeons to carry let- 
 ters from place to place : and per- 
 sons going on a journey general- 
 ly took some of these birds with 
 them, — and at different stages of 
 the journey released them with a 
 note tied either to their necks or 
 feet : the pigeons quickly found 
 their way home, — bringing news 
 with them, from the persons ab- 
 sent. . The penult of πετασαι is, 
 here, long by licence. — Brunck, 
 indeed, edits «πτασα», as though 
 of KiTctopur, — a word not in use. 
 Barnes has πέτασσαι. The Me- 
 tre of this Ode is Dimeter Iam- 
 bic Catalectic, like the First. 
 
 3. ρνραιν τοσούτων, of some many 
 unguents j partitively, and there- 
 fore in the genitive case after a 
 transitive verb. It was not un- 
 common to scent pigeons, that on 
 their arrival with a message they 
 might yield a pleasing perfume. 
 
 6.τί y εστί σο» μίλ^μα.; but what 
 is thy errand or business ? Of this 
 verse there are several readings, 
 as, τί? **V 9 τι σοι μέλει οε • who art 
 thou? and what is-it-of-concern to 
 thee Ρ and τί$ εστί σοι μ,ιληοών ; but 
 who is unto thee thy commissioner f 
 τΊς εστί σοι ; μέλει Si; who is unto 
 thee thy master ? but it is of care 
 to me to know : and τι σ"' εστί σοι ; 
 μέλει <Ιε; and what is it unto thee? 
 and is it of solicitude or care? 
 
30 ιχ. 7. Ανακρέοντος 
 
 7 'Ανακρέων μ έπεμψε 
 
 8 προς πο,ΐδο,, προς Βάθυλλον, 
 
 9 τον όίρτι των απάντων 
 
 10 κρο,τουντο, κολ τύρο,ννον. 
 
 1 1 Τΐέπρο,κέ μ η Κυθψη 
 
 12 λα£ο2σ-α μικρόν ΰμνον 
 
 13 εγώ S* Άνο,κρεοντι 
 
 14 διο,κονώ τοσούτο,' 
 
 15 κολ νυν, οράς, εκείνου 
 
 16 επκττολο,ς κομίζω' 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 Ανακρέων έπεμψε με προί παίδα, προς ΒαθνΧλον, τον 
 κρατούντα άρτι και τυράννον των απάντων. Ή Κνθήρη 
 ΤΓ€7Γράκ€ μ€ \α£ούσα μικρόν ΰμνον δε έ*γω διακονώ το- 
 σαύτα Ανακρέοντα και ννν, opqs, κομίζω επίστοΧα? εκ- 
 είνον 
 
 TRANSLATION. 
 " Andcreon hath-sent me to a youth, to Bathyllus, the 
 ruler now and lord of all. Venus has sold me, having- 
 in-lieu-got a little song: and I minister in-such-wise to 
 Anacreon ; and now, thou seest, I am-carrying his letters: 
 
 14. hccxavu τοααυτα, I minister 
 
 
 \^ 
 
 ih 
 
 -h 
 
 -- 
 
 N^ 
 
 ih 
 
 t 
 
 v/ — 
 
 V 
 
 ih 
 
 Τ 
 
 \J — 
 
 V^ 
 
 ih 
 
 -μ 
 
 w — 
 
 *-> 
 
 — IK/ 
 
 -1- 
 
 \* — 
 
 *S 
 
 ih 
 
 -1" 
 
 \J — 
 
 <~t 
 
 ih 
 
 ψ 
 
 <*/ — 
 
 \S 
 
 ih 
 
 \* w 
 
 -- 
 
 " 
 
 -Ih 
 
 -i- 
 
 - 
 
 " 
 
 — \\\j 
 
 -i- 
 
 9 — 10. τον κρατούντα, the person 
 ruling or swaying,— viz. the soul or 
 affections. With τίραννον under- 
 stand otra, being. Of this youth 
 Bathyllus, Anacreon was vastly 
 enamoured. 
 
 11 — 1?. The poet in these two 
 verses pays himself a very hand- 
 some compliment by making the 
 dove say that she had, aforetime, 
 belonged to Venus, and that Ve- 
 nus had sold her to Anacreon for 
 one of his sonnets or little Odes. 
 Doves, it should be remembered, 
 were sacred to Venus. 
 
 as to such (else, as to so great or so 
 many) things or matters. Dunbar 
 gives the meaning to be, h&*ovv 
 τοσαντα πράγματα, 'όσα rvv ϋίακο- 
 vu, I execute such-like commissions, 
 as I am now executing. For &ar.o- 
 vu Barnes very sillily edited &»r 
 xc»fc>, always contending (against 
 both authority and euphony) for 
 the Ionic form of speech. 
 
 1.5. For οράς, the emendation 
 of Stephens, most MSS. and al- 
 so editions have οίας, — nor with- 
 out some semblance of right. 
 
ΤΗΙΟΤ ΜΕΛΗ. IX. 17. 
 
 31 
 
 17 
 
 18 
 19 
 20 
 2\ 
 22 
 23 
 24 
 25 
 26 
 27 
 
 κα,ί φησιν ευθέως με 
 έλευθέρτ/ν ποιήσειν. 
 Έ<γώ 8ε, κψ άφή με, 
 δουΚη μενώ πα,ρ άυτω. 
 Ύί γάρ με 8εΊ τίτασ-δα/ 
 ορη τ ε και κατ ό/γρούς, 
 κα/ δενδρεσιν κα,θίζειν, 
 Φαηουσ&ν a/ypiov τι ; 
 Ύανΰν ε$ω μεν ά,ρτον 
 άφα,ρπά<Γσ,(Γσ, χειρών 
 'Ανακρέοντος ά,υτοΰ. 
 
 W — V — 
 
 W — \\J — 
 
 --[ν- 
 
 «^ — ν» — 
 
 W -Λ,- 
 
 I 
 
 "Τ" 
 
 ν, _ ν/ — 
 
 γ _ y -. 
 
 s# — y ■*■ 
 
 ^/ — χ,/ — 
 
 w-L 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 και φήσι ευθέως ιτοιησειν με εΧενθερην. Δε εγω, και έ- 
 αν άφτι με, μένω πάρα αύτω ΒούΧη. Tap τι δει μ€ πε- 
 τάσθαι κάτα τε όρη και άκρους, και καθίζειν ΒένΒρεσι, 
 φαηονσαν τι aypiov ; Τάννν μεν έ&ω άρτον αψαρπασάσα 
 χειρών Ανακρέοντος αύτου. 
 
 TRANSLATION. 
 
 And he says he will forthwith make me free. But I, even 
 if he dismiss me, will remain with him, his slave. Because 
 what necessity -is- there for me to fly over both mountains 
 and fields, and to perch on trees, eating aught wild ? At 
 present, indeed, I feed-upon bread— snapping it from the 
 hands of Anacreon himself. 
 
 17 — 18. φησϊ ποήσαν, he saith 
 hereafter to make> that is, he says 
 he is going to make or that he will 
 make. 
 
 19• y.riv for k»i la,* or χα* otv or 
 y.a) f,v, even if, or, although.— a.<prj, 
 he were to send me away. 
 
 21. τί γάρ μ.ί &ΐ; for why be- 
 hoves it me? that is, why need I? 
 
 23. χαΰίζαν, to sit me down, or, 
 to perch me .• here, either under- 
 
 stand ψα,υτον, else take the signi- 
 fication in a neuter sense. 
 
 24. αγρήν τ», aught wild, mean- 
 ing, any wild or rural food which 
 I might light upon. 
 
 25. sL• α,ξτον, I eat bread. 
 
 26. ΰφαοπύσα,σα y}\fiv (that is, 
 άρττάσασα απο χ£»ρα)>), snatching 
 or snapping from the hands, with 
 allusion to the manner of birds 
 in taking food from the hand. 
 
32 ιχ. 28. Ανακρέοντος 
 
 28}, : Πίειν δε [μι δίδωσι 
 
 29 
 
 30 
 
 31 
 
 32 
 
 33 
 
 τον οινον ον προπινει. 
 Τΐιοΰσ-α, δ* όϋν χορεύω, 
 κοιί δεσπότη ν εμ,οϊσι 
 πτεροϊσι συσκιάζω* 
 κοιλωμένη δ* επ άυτώ 
 τω βοιρ§ίτω κα,θεύδω. 
 35|ι"Ε%£/£ cwravr, άπελθε* 
 
 34 
 
 ν — Κ» — 
 
 ν —\\* — 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 Ae δίδώσι μοι irLeiv τον οίνον 6v προπίνβί. Ae ovv πι- 
 ούσα χορεύω, και σνσκιαζω δέσποτην εμοίσι τττεροίσϊ 
 Be κοιμωμενη καθεύΒω επι τω βάρξι,τω αύτω. Έγγειε 
 απάντα, άπελθε' 
 
 TRANSLATION. 
 
 And he gives to me to drink the wine which he previous- 
 ly tastes. And so, having-drank, I skip, and overshadow 
 my master with my wings : and com posing-my self-to-rest, 
 I sleep upon the harp itself. — Thou possessest all, depart : 
 
 29. τον oTvov op προπινεί, the wine 
 which he drinks of— before 1 drink, 
 or, the wine which he drinks from, 
 to my health. 
 
 SO. The common lection is αν 
 γορυω, I may dance j but accord- 
 ing to Porson the particle a» can 
 never be joined to the present of 
 the indicative. I have therefore 
 with Dunbar, given dm, — but am 
 nevertheless of opinion, that αν 
 χορεύω is faultless. Some editors, 
 desirous indeed of retaining a\, 
 have changed χορεύω to χοριύσω, 
 and, to keep up a sort of unifor- 
 mity, they introduce συγκαλύψω 
 for σνσκιαζω, in verse 32 below. 
 Some few others, observing the 
 whole discourse to be in the pre- 
 
 sent tense, stri ve for χορεύω — and 
 συγκαλύπτω, reading άΰ for oiv. 
 
 31. In room of ψοΤσι, most of 
 the earlier copies have Ανακρέον- 
 τα, — which the metre altogether 
 rejects. 
 
 33. There are, in this verse, 
 and in the next together, no less 
 than three contiguous words all 
 ending in ω, and one in ω. Some 
 few copies, however, have αυτού 
 for α,υτω, — and τίί has been pro- 
 posed for τω. 
 
 35. έχεις άπαντα, thou hast all, 
 that is, thou [enquirer] now know- 
 est every thing which thou desiredst 
 to know; and, in fact, every thing 
 which I can let thee know, concern- 
 ing myself and my business. 
 
ΤΗΙΟΤ ΜΕΛΗ. IX. 36. 
 
 33 
 
 36 
 37 
 
 Xnkurripav pJ εθηκα,ς, 
 
 Avt 
 
 )ωπε, και κορωνγς. 
 
 ν ΤΊΓ 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 βθήκαε μβ, ανθρώττβ, \α\ίστβραν και, κορώνη$. 
 
 TRANSLATION. 
 
 thou hast-rendered me, man, more prattlesome even than 
 
 a crow. 
 
 36. λαλιστίξα*, more garrulous, 
 more babbling, more tongueful. 
 
 37. άνθρα>7Γί, man, a very fami- 
 liar mode of address, in nowise 
 unfrequent — with persons living 
 on terms of homeliness with one 
 
 another :«— και χορύννς, even than i word which follows 
 
 a crow : but in most MSS., and 
 editions prior to that of Barnes, 
 we find tyi<; instead of και, — than 
 the crow, that is, than crows in ge- 
 neral, tamely; whereas xai is em- 
 phatical — and adds force to the 
 
34 
 
 χ. ι. anakpeontos 
 
 *φΔΗ\ Γ. Έ/£ "Ερωτα, Κηρινον. 
 
 II ν ΕΡΧ1ΤΑ κψινόν τις 
 2, νεηνίης επώλεΓ 
 
 3 εγώ δε οι ιτοιρσ,στο\ς, 
 
 4 πόσου θέλεις, εφην, σοι 
 
 5 το τευγβεν ίκπρίωμοι,ι ; 
 
 6 Όί* εϊπε, Αωριάζων, 
 
 7 λάβ' άυτον οππόσου λής. 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 TVs νεήνιης βπώλει κήρινον Ερώτα' £e έγω παράστα$ όι 9 
 έφην, πόσον ^re\eis βκττριώμαι σοι, το τβύ'χθεν ; Δζ ό, 
 Δωρυάζων, dire, λάβε αύτον οτητοσου \rj9. 
 
 TRANSLATION. 
 
 ODE Χ. On a Waxen Cupid. 
 
 A certain youth was-vending a waxen Cupid : — so I, 
 having-made-halt-near to him, said, " At-how-much wilt- 
 thou that I buy of thee the wrought ?" And he, talking- 
 Dorianly, said, " Take-thou him for-how-much thou list. 
 
 1. tp&rra xrjfHor, a waxen Cupid, 
 
 that is, a figure of Cupid made (or 
 modelled) in wax. The Metre of 
 this Ode, and likewise of several 
 which follow, is the same as that 
 of the preceding one. 
 
 3. ot τταραστας, having -stopped 
 upon coming up to him, else, being 
 standing beside him at the time. 
 
 A> — 5. σο) το πυχ$\ν (alias τνχ- 
 Q\>) ixveQiupai, that I buy the work 
 of (or from) thee, — a meaning in 
 some degree ambiguous, because 
 the words imply — either that the 
 Cupid was the salesman's own, 
 without reference to the maker : 
 
 or, that the youth was both the 
 manufacturer and vender : thus 
 ίκπρίνμ.αί σο», that I buy of thee, 
 το τινγ$\ν, the work jot, irtir^u^ut 
 το πνχβεν σοι, that I buy the work 
 by thee. 
 
 6. Awpwt^v, talking in the Doric 
 manner, that is, speaking-broadly. 
 The Dorians were in their man- 
 ners simple, — as well as rustic in 
 their language. 
 
 7. λάβ' αυτόν, take him, namely, 
 the Cupid, — and not ά,υτο, it, the 
 work : — λίίς, thou like or list, — 
 thou choose or wilt t viz. the Do- 
 ric form for θίλ*ις. 
 
ΤΗΙΟΤ ΜΕΛΗ. Χ. 8. 
 
 85 
 
 8 
 9 
 10 
 11 
 12 
 13 
 14 
 15 
 16 
 
 Ό[Μος ί* 1ν εκμάθτις χ&ν, 
 ουκ ifif /Λ χψοτίχνα,ς' 
 άλλ* ου τι λώ συνοιχψ 
 "Ερωτι πα,ντορεκτα. 
 Αος οϋν, 8ος άυτον ήμΐν 
 Spov^fMf /ς, καλόν σΰνευνον. 
 "Ερως, συ 8' ευθέως με 
 πύρωσαν ει 8ε fw], συ 
 κατά. φλογός raxtfoy. 
 
 w — w — Ιν — — 
 
 -— 1|— 
 -—II--- 
 
 W — W — II ν, - - 
 W-W-.||w-- 
 
 II ι 
 
 \/ — ν> — ρ-» — »«/ 
 
 — -II— 
 
 wr — \* ""11^ "" ~" 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 Ac ομωε ϊνα εκμαθης παν, ουκ εμμι κηροτεγναΓ άλλα 
 ου το λω συνοίκην παντορέκτα Ερώη. Aos ουν, δο* αύ~ 
 rov ημιν Βρά'χμηε, κάλον συνζύνον.Δζ συ, Έρω9, ενθε- 
 cos πυρώσον μν δβ et μη, συ τακήστ) κάτα ^λόγο?. 
 TRANSLATION. 
 
 And yet, that thou may know all, I am not a worker-in- 
 wax ; but I like not somehow to live-in-company-with all- 
 craving Cupid." — fi Give therefore, give him to us for a 
 drachm, — a handsome bed-fellow. And do thou, Cupid, 
 straightforth enkindle me : because if not,, thou shalt be 
 melted over the flame." 
 
 8. There are various readings 
 of this verse, some copies having 
 οϊτως ί 1 ' ι/, others, όπως l• uv, and 
 others όμως $ αν. For παν, also, 
 some few MSS. and impressions 
 have w, the thing itself , that is, 
 the truth of the matter. 
 
 9. ψ(Δ κηροτέχνας, in the end 
 of this verse, and σννοικγν, in the 
 end of the next, as likewise τα»- 
 τορκτα, in the end of the verse 
 immediately after that, are, all, 
 in the true Doric strain, — as be- 
 ing spoken by the Dorian youth : 
 yet it must be confessed that in- 
 
 stead of φμϊ κνιροτέχνας (or xat- 
 ροτέχνα,ς), several MSS. and edi- 
 tions have e»/a» χγηοτίχνα,ς (some 
 κ»3ροτ/χ>»κ), as though the youth 
 spoke in a mixture of dialects. 
 
 10. For τ* Almost copies have 
 θέλω, which to me appears too re- 
 fined for the context. 
 
 13. ΰοαχμάς , for a drachm, — a 
 small silver coin, in value about 
 seven-pence three farthings. 
 
 16. τακίση, thou shalt be melt- 
 ed, that is, unless thou fire me, I 
 shall fire thee — I shall melt thee in 
 the fames. 
 
36 
 
 χι. ι. Ανακρέοντος 
 
 'ίΙΔίΓ ΙΑ'. Έ^Έαυτον. 
 ΛΕΤΟΤΣΙΝ &ι γυναίκες, 
 
 * Ανακρέων γέρων ε? 
 λαβα) ν εσοίΐτρον ά,θρει 
 κο'μα,ς [λ,εν όυκέτ ούσας, 
 ψιλον δε σευ μ,ετωτϊον* 
 'Εγώ δε τσ,ς κόμας μεν 
 
 ουκ όΐδα' τούτο &* όΐδα,, 
 
 \J — Ν-» — Ι V ~ «-» 
 
 — i — Π — i- 
 
 ν» —Ν-» — Κ' — — 
 
 ν,/ — k/ — Κν —Ι — 
 
 -tT'T 
 
 -ttt 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 'Ac γυναίκες Xeyovai, Ανακρέων ει γέρων \ά£ων εσόπ- 
 τρον άθρει κόμας ούσα$ μεν ούκετι, 8ε μετώττον σευ ψί- 
 \ον. Δε εγω ουκ οίΒα μεν τα$ κόμαε είτε είσί, είτε α- 
 Ίτηλθον' δε οίδα τούτο, 
 
 TRANSLATION. 
 
 ODE XI. Upon Himself. 
 
 The women do-say, Ci Anacreon thou art an old-man : 
 having-taken-up a mirror view thy hairs — existent indeed 
 no-longer, and thy forehead bald." 
 
 But I know not, fortroth, as to the hairs whether they 
 are-existent — or whether they are-gone : but I know this, 
 
 3. λάζων εσοπτρον αθρι», having- 
 taken a mirror, view; that is, ac- 
 cording• to our idiom,, take a mir- 
 ror andview. In Anacreon's time 
 mirrors were commonly made of 
 polished metal•, such as silver or 
 brass. 
 
 2. Ανακρέων γέρων 17, Anacreon, 
 thou art an old-man. In this sen- 
 tence the word Ανακρέων may be 
 either the nominative — or voca- 
 tive case. The vocative, proper- 
 ly speaking, is ' Ανάκρεον, but the 
 poets very frequently, by an At- 
 ticism, wrote the vocative like 
 the nominative. With a comma 
 after 'Ανα,κρέων the case would be 
 the vocative, decidedly ; but now 
 without a point, it may very well 
 be the nominative. 
 
 4. ούσας, being or existing, that 
 is, being-existent or in the place in 
 which nature planted them. 
 
 6. ψιλον $ε σεν ^ίτωτίον, and the 
 bald forehead of thee, or in other 
 words, and thy forehead bald. 
 
ΤΗΙΟΤ ΜΕΛΗ. XL 9. 
 
 37 
 
 9 
 10 
 11 
 
 ως τώ ryipovri [λ,σΧΚον 
 it pint ει τα τερπνά, παίζε ιν, 
 ϋσω πελσ,ς τα μοίρης. 
 
 \j — \\j — κ» — — 
 
 -^ - ν» - 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 
 ώ? πρέπει, τω ηβρόντι παίζειν τα τέρπνα μάλλον, οσω 
 7re\as τα μοίρη$. 
 
 TRANSLATION. 
 
 " That it-is-befitting to the old man to sport as to things- 
 pleasurable the more, — by-how nigh those of destiny." 
 
 9. τω yspovTi, unto the old man, 
 that is, both to Anacreon himself, 
 and to all old folks. In English 
 we might say, " in an old man," 
 generalizing (as it were) the ex- 
 pression, and yet alluding forci- 
 hly to a particular individual. 
 
 10. τα τιρπνα, πύζαν, literally^ 
 to sport the things delightful, free- 
 ly, to sport merrily, or, to play the 
 part of pleasure. For τα, in this 
 verse, the Vatican MS. has το, — 
 which Barnes adopted and stre- 
 nuously defends : with this read- 
 ing the ordo is το παίζει τιρπνα. 
 πρέπει, τωγέροντι μαλλοκ, the sport- 
 ing merrily is-becoming to (or in) 
 an old man the more. 
 
 1 1 . οσω πέλας, by-how near-at- 
 hand, — that is, by how much the 
 nearer or nigher: — τα μοίρ>κ, lite- 
 rally, the things of fate, freely , the 
 close of life. We either may, or 
 may not, understand μάλλον re- 
 peated with πέλας, the more near, 
 or, the nigher. Dunbar, in his se- 
 lections, gives the ordo of the en- 
 tire passage, as follows: ως πρέπα 
 τω yipovT\ πα\ζαν τα τερπνά, τοσον- 
 τω μάλλον οσω τα πράγματα μοί- 
 ρας εστί πέλας, that it becomes an 
 old man to sport the more merrily 
 the nearer the things of Fate are at 
 hand. He adds, that the words 
 τα τερπνά are, here, assumed ad- 
 verbially. 
 
38 
 
 χιι. ι. Ανακρέοντος 
 
 'ΛΔΐΤ IB'. 'Εις Χελιδόνα. 
 
 ΤΙ' σοι θέλεις ποιήσω ; 
 Τι σο/, λάλη γ/Κιδών ; 
 Τα τα/ίσα σευ τα κουφοί 
 θέλεις λαβών ψαλ/£ω ; 
 *Η μάλλον ενδοθεν σευ 
 την γλώσσονν, ώς 6 Ύηρευς 
 εκείνος, εκθερίξω ; 
 
 ||w -|- 
 
 wfiy — lis/ — — 
 
 \s — ss — llw — ν 
 
 - — -||--- 
 
 S# » W — lis/ — — 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 2\ ^eXety ποιήσω σοι ; Γ/ σοι, Χάλη χεΚίόων ; QiXets 
 \ά€ων ψάλίξω τα τάρσα σευ τα κούφα ; Η μάΧλον, ώί 
 εκείνος 6 Τήρευ$, εκθερίξω την <γ\ώσσαν σευ ένΒοθεν ; 
 
 TRANSLATION. 
 
 ODE XII. On a Swallow. 
 
 What wilt-thou that I do unto thee ? What unto thee, 
 
 garrulous swallow ? Wilt-thou that having-seized thee I 
 
 clip the wings of thee, the light wings ? Or rather, as yon 
 
 Tereus, that I cut-out that tongue of thine from-within ? 
 
 5—6. σεν ryv γλωσσα,ν, literal- 
 ly, the tongue of thee, freely, that 
 tongue of thine. 
 
 1. τι σο» $ίλ•κ ποιήσω ; verbal- 
 ly, What art-thou-willing I-shall- 
 do unto-thee ? 
 
 2. λάλτ) χίλώω», thou loquacious 
 or prattling swallow. In the Va- 
 tican MS. the reading is λαλίϊ, 
 the vocative of λαλίύς, — if such 
 word be to be found. Some ob- 
 ject to \<xM, because λάλος is an 
 adjective of two endings, Ό xu\ y 
 λάλος, το λύλον,ζηά not λάλος, λά- 
 λιη, λάλον. 
 
 4. §€λας λάζων ψαλι| ω; literal- 
 ly, art-thou-willing I having-taken 
 shall-clip ? more freely, wilt-thou 
 that I take and clip ? 
 
 6 — 7. ό Τηξ$ύς lx.uw,the Tereus 
 he, or, he Tereus, or, that one Te- 
 reus : the article δ is prefixed for 
 the sake of emphasis or distinc- 
 tion. This Tereus was a king 
 of Thrace, and married Procne, 
 daughter of Pandion king of A- 
 thens. He ravished Philomela, 
 the sister of Procne, and then cut 
 out her tongue — that she might 
 not tell. Procne (not Philomela) 
 was afterwards metamorphosed 
 into a swallow; Philomela into a 
 nightingale. 
 
ΤΗΙΟΤ ΜΕΛΗ. XII. 8. 
 
 SP 
 
 8 
 
 9 
 
 10 
 
 Τ/ μευ κα,λών ονείρων, 
 ύπορθρία,ισΊ φωνα,Ίς, 
 άφψπα,οΌ,ς Βάβυλλον ; 
 
 I* •Ά* -Ik 
 
 — w - — 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 
 Ύι καΚων ονείρων μεν, φώναι* νπορ&ριαίσΐ) αφήρπασα? 
 ΒαθύΧΧον ; 
 
 TRANSLATION. 
 
 Why from my pleasing dreams, by thy chirpings before- 
 the-dawn, hast-thou-snatched-away my Bathyllus ? 
 
 lus; and he here represents him- 
 
 8. τί μεν κα,λων οιιίξων; why from 
 the beautiful dreams of me, that is, 
 why from my pleasing dreams ? 
 
 9. ύτΓοζθζ'κζισί ψωνχΐς, with sub- 
 matin voices, freely, by thy vocal' 
 sounds before day, or, by thy notes 
 before the time of rising. 
 
 10. α,φί)ξπασα.ς Βαθϋλλο* ; lite- 
 rally, hast thou snatched away Ba- 
 thyllus ? Anacreon, it seems, had 
 a great liking for young Batbyl- 
 
 self as having been dreaming 
 of him, when the swallow, by 
 its early notes, woke the sleep- 
 er from his sleep much against 
 his wish. Most persons, if not 
 all, dream more or less ; and the 
 mind sometimes derives great 
 pleasure, at other times the acu- 
 test pain, from the visions that 
 present themselves in sleep. 
 
40 
 
 χιιι. ι. Ανακρέοντος 
 
 'φΔίΓ ΙΓ. Έις 'Εαυτού. 
 
 ΌΙ μεν, κνΧην Kvgygyjv 
 τον ημίθηλυν "Αττιν 
 εν ούρεσιν βοώντα, 
 λέγουσ-ιν εκμο^νψο^ι* 
 
 οι δε, Κλά,ρου rap ογβσ,ις, 
 δ&φνηφόροιο Φοίβου 
 λάλο ν πιόντες ΰ$ωρ, 
 
 " Τ ~Ιγ τ 
 
 -ΜΗ- 
 
 w ' -II*, _ί- 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 Οί μεν \e<yovai κάλην Κυ§ή£ην εκμανήναι τον ημιθηΚυν 
 'Attlv, βοώντα ev ovpear Be οι, πώντβ$ \άλον ύδωρ 
 Βαφνηφοροίο Φοίβου πάρα ογβαι$ Κλάρον, 
 
 TRANSLATION. 
 
 ODE XIII. Upon Himself. 
 
 SoME-persons, indeed, report, that beauteous Cybebe 
 rendered-mad the half-female Attys — bawling among the 
 mountains : and some-persons, drinking the babbling wa- 
 ter of laurel-bearing Phoebus near- to the banks of Claros, 
 
 himself in a paroxysm of deliri- 
 um. This Attys was a shepherd 
 of whom Cybele was enamoured; 
 and., because he proved faithless 
 unto her, she afflicted him witli 
 
 1. καλγ,ν VLvGvSw, beauteous Cy- 
 bebe, a goddess of Phrygia, — the 
 great mother of the Gods. — As 
 Cybebe or Cybele was of necessity 
 old, many take χαλί? here in the 
 sense of kindly or gracious rather 
 than of beauteous; but it may be 
 supposed that age can make lit- 
 tle or no impression on the fea- 
 tures and forms of immortal be- 
 ings. I take KvGriQw here to be 
 the accusative before εκ/χαν*)»«», 
 and not after βοώντα. 
 
 2. τον »)|κ/ιθ>ολι>[> ,/ Ατ'π»', the half- 
 female Attys, with allusion not to 
 delicateness of person or girlish 
 look, but to an act of great vio- 
 lence which Attys committed on 
 
 madness to that degree that he 
 rendered himself a eunuch. 
 
 4. ιχμανηνΰα , to have been ren- 
 dered infuriate, — the second ao- 
 rist of the infinitive passive, u- 
 surped in an active sense. 
 
 5. Κλάροϋ τταρ' οχ^οας, beside or 
 nigh the banks of Claros, a lake 
 sacred to Apollo in the vicinity 
 of the town of Claros in Ionia. 
 
 7. λάλον, babbling or talkative, — 
 or rather, causing to speak, — a 
 quality the water possessed. 
 
ΤΗΙΟΤ ΜΕΛΗ. XIII. 8, 
 
 41 
 
 8 
 
 9 
 
 10 
 
 11 
 
 12 
 
 με^νοτες βοωσιν. 
 Έγώ 8ε του Λυα,ίου, 
 κσλ του μύρου κορεσΌε)ς 9 
 κσλ της εμης ετα,ίρης 9 
 
 _ 
 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 μεμήνοτβς βοωσι. Ae eyo>, κορεσθει$ του Αυαίον, και, 
 τον μύρου, και, τηε έμηί ίταίρης, ^-ελω, *&έ\ω μανήναι. 
 TRANSLATION. 
 
 being-become-frantic call- aloud. But I, satiate with Bac- 
 chus, and with perfume, and with my mistress, — do wish, 
 I do wish to rave. 
 
 8. μψγνοτες, being-become-mad 
 or frantic, that is, being -render ed- 
 as-un to-themselves-en thusiastic, or, 
 being transported in mind,— by the 
 sacred waters which they drank. 
 
 9. Ιγω, J,— emphatically, and in 
 contrast with those, who become 
 raving mad through draughts of 
 water of inspiration: — το? Λνα,ί- 
 ov, literally, with the Lytsus, that 
 is, with Bacchus, or, with Wine. 
 Anacreon candidly avoweth that 
 
 he likes to get merry over wine, 
 and not over water, — let the in- 
 spiring qualities of the latter be 
 what they may. In this verse, 
 and the two following, the pre- 
 positive article is expressed — in 
 Greek ; but suppressed in Eng- 
 lish, — agreeably to the genius of 
 the two languages, respectively. 
 12. μ&ιιήνα,ί, second aorist infi- 
 nitive passive,— ίο have been ren- 
 dered maddened: simply, to rave. 
 
42 
 
 χιν. ι. Ανακρέοντος 
 
 ι 
 
 2 
 
 s 
 
 4 
 5 
 6 
 7 
 8 
 9 
 
 10 
 11 
 
 'ίϊΔΗ ν ΙΔ'. 'Εις "Ερωτα. 
 
 ΘΕ'ΑίΙ, §έλω φιλησ-Μ 
 
 επειθ 9 "Ερως φιλεΐν με* 
 εγώ ί' εγων νόημα, 
 όίξουλον ουκ επε'κτΟην. 
 Ό 8\ ευθύ τ όζον οίρα,ς 
 κοά γ$υσεψ φα,ρετρψ, 
 Ρ^ΧΌ 1^ ζ πρόυκοίλεΐτο. 
 KoLycb λαβών ε% ώμων 
 §ώρη%, όπως Ά%ιλλεύς, 
 κολ δοΰρα, κοω βοείγν, 
 εμο^ρνάμην "Ερωτι. 
 
 \S — V — W — IN/ 
 
 W — |ν/ — S/ — w 
 
 w —|v> •~|| s -' "~ — 
 
 w — Iw — ||w — — 
 
 v/ — w — sy — \^ 
 
 — — v/ — jlw — - 
 
 \s — w — v/ — > 
 
 THE ORDER, ANJ> ENGLISH ACCENTUATION, 
 θέλω, ^ελω ^tXfjaar 'Ep<os €irei6e μ€ φίΧβιν δε eycc 
 kyow α£ού\ον νοήμα, ουκ ατείσθην. Ae ο, evOv άρα, 
 τόξον και χρύσεην φαρέτρην, ττρο-εκαΧείτο με μάγτ). 
 Και έγω, \ά£ων έπι ώμων *&ωρήκα 9 όπως ΑχίΧλ€ν$> και 
 Βονρα και βοείην, βμάρναμην Ερώτι. 
 
 TRANSLATION. 
 
 ODE XIV. On Cupid. 
 
 I wish, I wish to love: — Cupid exhorted me to Jove; 
 but I, possessing an obstinate disposition, was not exhort- 
 ed. But he, having straightforth taken-up his bow and 
 golden quiver, challenged me to battle. And I, taking 
 upon my shoulders a cuirass, as it were Achilles, and ja- 
 velins and a buckler, combated with Cupid. 
 
 9. SufvjKct, a cuirass or a mail' 
 jacket, — to protect the thorax a- 
 gainst wounds. 
 
 10. /3oe»}», a bull-hide, that is, a 
 shield or buckler — constructed of 
 the hide of a bull. 
 
 2. tntitf ' Ε(ας, Cupid counselled 
 or advised. 
 
 3 — 4. «χω» vori^a, ά^οϋλοκ, hav- 
 ing a wayward temper. 
 
 7. μ-αχρ f*s προνκαλιΤτο, called 
 me forth to battle. 
 
ΤΗΙΟΤ ΜΕΛΗ. XIV. 12. 
 
 43 
 
 12 
 13 
 14 
 15 
 16 
 17 
 18 
 19 
 20 
 
 "Εέαλλ', εγώ 8 εφευγον 
 ω$ ο ουκ ετ £/% οιστους, 
 TjfryjxXkev klff εαυτόν 
 αφηκεν εις βελεμνον' 
 [λεσος 8ε καρδίης [λ,ευ 
 εΰυνε, και μ,^ έλυσε. 
 Μάτψ δϊ ε%ω βοείψ' 
 τι yap βαλώμε& εξω τ 
 μά%ης εσ-ω μ 9 εγρύσης ; 
 
 ν/ -ν/ 
 
 ν — — 
 
 - -ν -||~ _;„ 
 
 ύ -Ι- -||- -|- 
 — t' — π — f— 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 E£a\\e, δε εγώ εφεύ^ον δε ώ? ουκ έτι είχε οΐστουε, ησ- 
 χάλλε• επ-<ζ αφήκε eavrov εις βεΧέμνον δε εδύι/ε μέσο? 
 κάρδιη? μευ, και ε\ύσε με. Δε μάτην έχω βοείην γαρ 
 τι βαλώμεθα έξω, μάγτ}$ εχούση? με έσω. 
 TRANSLATION. 
 
 He shot, and I fled : and when he no longer had any ar- 
 rows, he was vexed : then he discharged himself in a shaft; 
 and entered the midst of my heart, and unnerved me. So 
 in-vain have I a shield, — for why should- we- be-darting 
 outwardly, a fight engaging me within? 
 
 12. e£aX*s, he shot or was shoot- 
 ing, or in other words, he began to 
 shoot : — εφευγον, I fled or was flee- 
 ing, or, I Jcept-running-away. 
 
 14. ήσχαλλε, ht was vexed, or, 
 he flew into a rage. 
 
 15. ά<ρ>ίκί, he emitted or shot, he 
 discharged or hurled .• — t»$ βέλεΐΑ- 
 *oi, in a weapon or dart, — he hav- 
 ing converted himself into one. 
 
 17• μ έλυσε, he undid me, that 
 is, routed me and laid me for dead, 
 
 18. μάτην $' νχω βοε'π,ν, freely, 
 in vain am I protected by cuirass 
 and buckler. 
 
 19. βαλώ/χίθα, need we dart for 
 ourselves:— but yet some critics 
 
 maintain, that βαλωμεΰα is, here, 
 put for ττίρι^αλώ^ίθα, may we be 
 fortified, namely, with shield and 
 mail. Others contend for βάλω- 
 μ.ίν, in the active voice, but on no 
 proper authority. The Vatican 
 copy has βύλοψεν, in the active 
 voice and optative mood. 
 
 20. μάχης *<τω μ Ιχονσπς, a fight 
 holding within me, or, a war hav- 
 ing place within me, — or, a combat 
 having ( or engaging ) me inward- 
 h/: but commentators are by no 
 means agreed, as to whether tarn 
 be here a preposition — or an ad- 
 verb; that is, whether /*i be go- 
 verned by «o» or by *χονσ*ις. 
 
44 
 
 1 
 
 3 
 4 
 5 
 6 
 7 
 8 
 9 
 10 
 
 χν. ι. Ανακρέοντος 
 
 'ΩΔΗ\ ΙΕ'. 'Εις το Άφθόνως 
 
 ΌΤ' μοι μέλει Γιίγαο, 
 
 του Χα,ρδέων ά,νοι,κτος' 
 ovff ό,ιρέει με χρυσός, 
 όυ$ε φθονώ τυρά,ννοις. 
 Έμο) μέλει μύροισι 
 κοντν,&ρέγειν ύπψψ' 
 έμο) μέλει ροδοκτί 
 κοντο,στέφειν κά,ρψν,. 
 Το σήμερον μέλει μοι* 
 Το δ* άύριον τις όΐδεν ; 
 
 Ζην 
 
 * 
 
 , THE ORDER, AND ENGLISH ACCENTUATION- 
 Ου μέλει μοι Γνγάο, του ανάκτο? Έϊάρδεων ούτε χρύσο? 
 άίρεει με, ούδε φθάνω τύραννοι?. Έμοι μεΚει κατάξρε- 
 χειν υπήνην μυροίσι' έμοι μέλει κατάστεφειν καρήνα 
 ροΒοίσι. Το σήμερον μεΚει μον δε tis οίοε το αύρων ; 
 
 TRANSLATION. 
 
 ODE XV. On Living Unenviously. 
 
 It troubles not me about Gyges, the king of Sardis : 
 neither doth gold captivate me, — nor do I envy princes. 
 Me it concerns to bedew my beard with perfumes : me it 
 concerns to crown my head with roses. To-day concerns 
 me, — and who knows to-morrow ? 
 
 * Freely, on the unenvious life. 
 
 1. όύ pen /Λίλι» Tvyao, it troub- 
 les me not of Gyges, that is, I am 
 not {in any degree) envious of the 
 
 wealtk of Gyges. For Τύγου (the 
 genitive of Τνγπς,) the iEolians 
 wrote Tvycto. Gyges succeeded 
 Candaulea on the throne of Ly- 
 dia; and like his ancestor Croe- 
 sus was proverbially rich. 
 
 2. Σχροίων or ΣαρΡιων, of Sar- 
 d'es or Sardis, a city of Asia Mi- 
 nor, — and the capital of the an- 
 cient kingdom of Lydia. 
 
 3. Of this verse, indeed, there 
 are other readings, — as, Όΰ§ Ιίλβ 
 πω μ,ί χρυσός, and όιίθ' «λϊ πω ps 
 ζήλος , — which last is that of the 
 Vatican MS. and borrowed from 
 Archilochus. 
 
 — — ν — II w — ν 
 
 — — w — 1| s/ — |v» 
 
 — — w — ||w — k/ 
 
 |w-|- 
 
 W — w — ||vr — ^ 
 \J — v/ —\\\J — — 
 
 w — w "~||^ "" v 
 v/ — w — ||v, - W 
 
 — i— 
 
 \j — \j — llvs — ^ 
 
ΤΗΙΟΤ ΜΕΛΗ. XV. 11. 
 
 45 
 
 13, 
 
 14 
 15 
 
 Ω,ς ουν ετ ευόι εστί, 
 και πίνε, και κύ£ευε, 
 και σπέν8ε τω Αυαίω' 
 ^αή νουσος^ ψ τις ελθτ], 
 [Ατή <5εΓ, λεγ^, σε ΐζ'ινειν. 
 
 — — ν — 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 f /2s ουν έστύ en evSca, καν nrivev, καν KvSeve, καν σπεύδε 
 τω ^Ιυα/ω• /u.77 νούσορ, ην tvs €λ#?7> λεγ^, σε δεί μ?7 7rt- 
 
 TRANSLATION. 
 
 Whilst, therefore, it is yet serene, both drink, and throw- 
 dice, — and pour-libations to Bacchus : lest disease, if any 
 should-come, may-say : " Thee it-behoveth, not to drink." 
 
 trary to the sense, and likewise 
 agakist the metre : — again, λε- 
 727, ft /θίί το kUsiv, should say, give- 
 over to drink, or, give-ovei 'drink- 
 
 11. ως, as or since; but Barnes 
 from conjecture edited ίως, while 
 or the whiht, — unnecessarily, be- 
 cause ως hath here the meaning 
 of ews, whilst or so long as, rather 
 than simply, as or since .•— Ινδία, 
 serenity, that is, fine weather. 
 
 Ια. μη SeT, λίγη, σΐ ttUhv, free- 
 ly, should say, thou must not drink. 
 Numerous, indeed, are the read- 
 ings which have been offered of 
 this verse; among which may be 
 instanced the following: λίγν> o\ 
 prm «rivetr, and λεγτ], σι (Δ) "rt sr*- 
 Htq, — both very bad : — also, >^hll> 
 σ\ fxri h7 πί»ειν, should say, thee it 
 doeth not behove to drink, — con- 
 
 ing ; and lastly, λέγη, o\ μ\ πιιίν 
 h'i, which is, at best, a very lame 
 verse — and altogether unworthy 
 of Anacreon. I have transposed 
 λέγη for the sake of the metre in 
 λίγτ}7 f/.*j h? σε irivnv, in which the 
 second foot is a spondee. Per- 
 haps the poet intended the verse 
 to have a spondee in the second 
 place to express the surprise and 
 disappointment which the words 
 of Death (when he comes to cut 
 the thread of life,) are likely to 
 occasion. 
 
46 
 
 χνι. ι. Ανακρέοντος 
 
 Ϊ2ΔΗ Ν Ις\ 'Εις Έσ,υτόν. 
 
 ΣΤ' μεν λέγεις τα Θήβης, 
 6 <$' άν Φρυ<γών άϋτά,ς' 
 εγώ ί* ipx$ άΧώσεις. 
 *Ου% 2ττο£ ωλεσεν με, 
 ου πεζός, όυ<χ) νψς' 
 στρατός 8ε καινός άλλος, 
 ο\π ομμάτων βσΧών με. 
 
 ν/ — \j -" Κ* ~ 
 
 w — \j — \\\s — 
 
 w — ν» — llv/ — 
 
 — — ν/ — L/ _ 
 
 \s — ν» — IIn-» — 
 
 w — w —lis-» — 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 Σν /x€i/ \iyei? τα Θή£η$, Be ό αν αντα$ Φρνηων Be βγω 
 έμα$ άλώσ€ί9. Ουχ ϊτπτο$ wXeae μ€, ου πέζος, ουχί νή- 
 €ί• Be άλ\ο$ Kaivos στρατός βάλων μ€ άπο ομμάτων. 
 
 TRANSLATION. 
 
 ODE XVI. On Himself. 
 
 Thou indeed relatest the fortunes of Thebes, — and he, 
 again, the shouts of the Phrygians : but I, my own cap- 
 tures. 
 
 Not horse destroyed me, not foot-soldier, — nor yet did 
 ships ; but another strange army shooting me from eyes. 
 
 1. τα Θν>£ν)ς, the things or wars 
 or affairs of Tliebes, — that is, its 
 
 fortunes or exploits. 
 
 2. Φρνγων άντα,ς, the shouts or 
 huzzas of the Phrygians, — allud- 
 ing to the brave resistance made 
 by the Trojans when the Greeks 
 attacked their city. 
 
 3. ψας ά,λωσας, my seizures or 
 captures, not in an active but a 
 passive sense. — There was, it 
 seems, among the Greeks, after 
 the taking of Troy, a national 
 song called Τροίας αλωσκ, — and 
 these words of Anacreon have 
 very evidently reference to it. 
 
 4. ουχ Ίππος, not horse, that is, 
 not horseman, or, not cavalry, — in 
 contrast with πίζος, of the verse 
 following. 
 
 5. ου πιζος, not footman, — that 
 is, not infantry : — όνχ) >mq, nor 
 yet ships. The poet has now e- 
 numerated all the forms of mi- 
 litary character, and denies that 
 he was worsted by any of them. 
 
 6. στρατός ie χάνος άλλος, — but 
 another strange army, — meaning 
 the women. 
 
 7. In lieu of βχλων μι, the Va- 
 tican MS. has pe βχλλνν, which 
 Barnes preferred. 
 
ΤΗΙΟΤ ΜΕΛΗ. XVII. 1. 
 
 47 
 
 ΏΔΗ ν ΙΖ'. Έις Ποτψιον Άργυροϋν, 
 
 1 ΤΟ ν Ν oipyvpov το ρεύσης, 
 
 2 Ή^α/στε, [λοι ποίησον, 
 
 3 τανοτλ/αν μεν ουγ/' 
 
 4 τί <yccp payjuo-i κά/Λοί ; 
 
 5 ΤΙοτήριον 8ε κοίλον 
 
 6 όσον δύνη, βάθυνον. 
 
 [ν - 
 
 -ΗΙ~- 
 
 
 --μ 
 
 ν•• 
 
 ν — 
 
 ~i~- 
 
 y 
 
 ν/ — 
 
 ~ -,|ν _ 
 
 _ 
 
 V - 
 
 ν-» ~"|| , - / — 
 
 ν-/ 
 
 [~~ 
 
 Νμ/ — Ι W — 
 
 ^ 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 Ήφαίστε,τορεύσα? τον apyvpov, ποίήσον μοί, ούχι ττα- 
 ν6ττ\ιαν μεν yap τι μαχαίσΰ και έμοι, ; £e κοίΧον πο- 
 τήρίον βαθύνον όσον Bvvrj. 
 
 TRANSLATION. 
 
 ODE XVII. On a Silver Cup. 
 
 DO thou, Vulcan, after-enchasing the silver, have made 
 for me — not panoply fortroth ( because what with battles 
 and with me?), but a hollow cup : — have-deepened it as 
 much as thou can. 
 
 1. τον apyvpov, the silver, itself ; 
 the goblet — already formed of that 
 metal and in the hands of the cha- 
 ser : τοριΰνας, having -enchased, or 
 simply, enchasing; for the aorists 
 have not always a decidedly past 
 signification. 
 
 2. "ΗφΛίστε, Ο Vulcan, — chief 
 of all workers in metals : — this 
 name is often applied as a gene- 
 ral appellation for every kind of 
 smith, and other artist working 
 on any metal : — ποιησον, do thou 
 have made, or, do thou make. 
 
 3. 9Γανο7Γλίακ μεν ουχί, not by 
 any means y indeed, panoply, that 
 is, not (as Baxter will have it ) 
 a man (or men) in armour, but a 
 
 complete set of armour, — such as 
 Vulcan made for Achilles. 
 
 4. τί γαρ (Α&γα,ισι κα/Λοί; free- 
 ly, for what have I to do with bat- 
 tles or battles with me? 
 
 6. βάΰννον, do-have-deepened, or 
 simply, deepen j understand άντο, 
 it. Although the first aorist is 
 formed from the first future, and 
 the first future of βαθύνω has the 
 penult short, yet in most verbs 
 (not of the fourth conjugation) 
 even when the penult of the first 
 future is short, the penult of the 
 aorist is long; and consequently 
 the penult of βάΰννον is long. In 
 some few MSS. the distich end- 
 ing with βάΰννον is wanting. 
 
48 χνιι. 7. Ανακρέοντος 
 
 7 
 8 
 9 
 
 10 
 11 
 12 
 13 
 14 
 
 ΤΙοίει δε μ,οι κατ άυτο 
 μΛρ άντρα,, μή()' άμά'ξα,ς, 
 [//η (ττνγνον 'ΪΙρίωνα' 
 τι Πλειάδων μέλει f /,οι, 
 τι δ' αστέρος ~Βοάτεα> ; 
 Πο/^σον άμ,τίλους μ,οι 
 καί βοτρυας κατ αυτών, 
 καί Μαινάδας τρνγώσας. 
 
 --ΗΙ 
 - J i 
 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 Δε ττοίει κάτα αύτο μοι μήτε άστρα, μήτε άμαξας, μη 
 στνηνον Ω,ριώνα' τι. μεΚει μοι ΤΓΚείαΖων, Βε τι αστέρος 
 Βοώτεω; ΤΙοίήσον άμπεΧου $ μοι, και βότρυας κάτα αυ- 
 τών, καν Μαινάδα? τρυηώσας, 
 
 TRANSLATION. 
 
 And make on it for me neither stars nor wains, nor hate- 
 ful Orion : — what does-it-concern me about the Pleiades, 
 and what about the star of Bootes ? Do-thou-have-made 
 vines for me, — and clusters upon them, — and Bacchantes 
 gathering the-grapes. 
 
 7. woiet 3i /xot, and make forme: 
 in place of these words some few 
 editions have χα» im noUt. 
 
 8. \wr άστρα, /a»jO αμάξας, nei- 
 ther stars, nor yet wains j alluding• 
 to the emblazonry of the shield 
 of Achilles, whereon Vulcan had 
 depicted many constellations. 
 
 9. στνγνον Ώ,ρ'ίωνα, hateful Ori- 
 on, — a constellation near the feet 
 of the bull : Orion is here styled 
 hateful•, either on account of the 
 stormy weather which generally 
 accompanies his rising; else, be- 
 cause he holds a sword, — an in- 
 strument odious — to Anacreon ; 
 or, again, because in his life-time 
 Orion was hateful to Diana; else, 
 lastly, with reference to his foul 
 
 descent, — conferring upon him a 
 name by the change of a letter. 
 
 10. The more common read- 
 ing of this verse is, τί Πλι»ά«σβ•* 
 καμοί, — faultless indeed. 
 
 11, For ϊ αστέρος most editions 
 have £' αστρασ*, — and a few, yotf 
 καλοί. 
 
 13. MSS. have κατ άχ/το, upon 
 it, namely, the cup, — but to me, 
 χατ α,ντων seems preferable• 
 
 14. Μαινάδα? τρνγωσας, priest' 
 esses of Bacchus (called Bacchan- 
 tes) gathering-the-clusters : — this 
 is in perfect unison with the con- 
 text; but one MS. has τρνγωϊιις, 
 grape-stained. Some copies want 
 this verse and the next. 
 
ΤΗΙΟΤ ΜΕΛΗ. XVII. 15. 
 
 49 
 
 15 
 
 16 
 17 
 
 18 
 
 Τίοίει δε λψον οίνου, 
 και %ρυ(τέους π&τοΰντ&ς 
 ομ,ου καλοί Λυ α/ψ 
 "Ερωτα, κα/ Βάθυλλον. 
 
 _ w — — 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 Δζ ttoUi \ήνον οίνου j και Ερωτα και ΒαθύΧλον, ομού 
 κάλφ Λναίψ, πατούνταε ypvaeovs. 
 TRANSLATION. 
 
 And make a press for wine, — and Cupid and Batlryllus, 
 together with jolly Bacchus, trampling in-gold. 
 
 15. λτ,*ον οίνοι;, a wine press, li- 
 terally, a press of wine or a press 
 for wine. 
 
 16. χρνσίονς πατοΰντας, made- 
 of-gold trampling, — a very beau- 
 tiful idea : — these three, Cupid, 
 Bathyllus, and Bacchus, were to 
 be represented in gold upon the 
 silver cup, as trampling out the 
 
 juice of the grapes gathered by 
 the Bacchantes or priestesses of 
 Bacchus. This process of tram- 
 pling is so well known as to need 
 no elucidation. 
 
 17. ό /Aoy, together with j yet in 
 room of this word some few edi- 
 tions have σνν τω, — but without 
 any difference in the meaning. 
 
so χνιιι. ι. Ανακρέοντος 
 
 w — ν/ -V — W 
 
 — — j^ "11^ ~ ν 
 
 -ΜΗ- 
 
 w — jv/ *~||^ — — 
 
 ΊΙΔΙΤ IH'. Έ /ff το 'Awe. 
 
 1 ΚΑΛΗ Ν τε%ν& τόρενσον 
 
 2 έαρος κύπελλον ηδύ* 
 
 3 τα πρώτοι,, τερπνόν rjfMv 
 
 4 ροίον φερουσσ,ν "Ωρην 
 
 5 τον οίργυρον $ άτλώσα^, 
 
 6 τερπνόν ποίει πότον [λ,οι. 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 Topevaov, κάλη τέχνα, rjhv κνπέΧλον kapos' τα πρώτα, 
 "Ω,ρην φβρούσαν ημιν τερπνόν ρόΒον Be, άπΧώσαί τον 
 apyvpov, ποίει μοι τερπνόν πότον. 
 
 TRANSLATION. 
 
 ODE XVIII. On the Same. 
 
 Enchase, elegant art, the sweet cup of Spring : first, 
 the Season — bringing us the delectable Rose : — and hav- 
 ing embossed the silver, make for me pleasant jollity. 
 
 1. χαλί) τβχ»Λ, pretty handi- 
 craft or art, namely, that of sculp- 
 ture or carving, — and more parti- 
 cularly with reference to emboss- 
 ing, or, the delineation of objects in 
 relief. The poet here addresses 
 the art in lieu of the artist: yet 
 many editions have καλλίτερα , 
 the vocative of καλλίτερες, if e- 
 ver such word was in use. With 
 this reading the verse would con- 
 sist of four trochees and be quite 
 anomalous -.-—τόρινσοψ, have thou 
 enchased, freely, do thou enchase. 
 
 2. ϊαρος, of spring:— the metre 
 indeed requires this word to be a 
 dissyllable, and yet in most co- 
 pies we find ίίαρο(. 
 
 3. τα πρώτα, literally, the first 
 things; freely, first and foremast, 
 
 or, before any thing else. Several 
 MSS. have Tipma, in this verse, 
 and poL• in the next, — lamely as 
 respects the scanning, though ap- 
 propriate in sense. 
 
 4. polov φίρονσα.ν "Ωρτ,ν, the Hour 
 (or Season itself) bringing a Rose 
 or the Rose, that is, Roses in ge- 
 neral, blowing and full-blown. 
 
 6. top apyvpov, the silver, name- 
 ly, that whereof the cup consists. 
 Most copies have άργυρο*, with- 
 out the article. 
 
 6. The Vatican MS. has wgto» 
 πίο»/*» riprriot, I would be (that is, 
 figured,) drinking cheerful drink. 
 I have followed Stephens. Some 
 have taken πότος here to signi- 
 fy " a cup :" but I render it jol- 
 lity or a drinking scene. 
 
ΤΗΙΟΤ ΜΕΛΗ. XVIII. 7. 
 
 51 
 
 7 
 8 
 9 
 10 
 11 
 12 
 13 
 
 Των τελετών, παραινώ, 
 [λή τι ξένον τ ο ρεύσης' 
 μη φευκτον Ιστόρησα. 
 Μάλλον ποιεί Αιός τ ε 
 yoVTjv Έύϊον tj[mv, 
 μνηστήν &', άμα, τε Κύπριν 
 ύμ,εναίοις κρατούσαν. 
 
 Γ Τ 
 
 L, 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 Των τελετών Topevarjs μη τι ξένον, παραινώ' μη φευκ- 
 τον ίστορήμα. ΜάΧλον itoUi ημίν re Ενΐον ηόνην Δί- 
 os, τ€ μνήστην, τε αμα Κύπριν κροτονσαν νμεναίοι*. 
 TRANSLATION. 
 
 Of mystic-rites figure not aught irrelevant, I do entreat : 
 nor loathsome story. Rather make for us both Bacchus 
 the offspring of Jupiter; and a bride; and together- with- 
 them Venus plauditing nuptials. 
 
 ed, and re-mended. Some edi- 
 tors contend for μυστην νάματος, 
 initiated of liquor, meaning per 
 
 7. των τιλίτων, ofrites or religi- 
 ous ceremonies, particularly such 
 as are mysterious or incompreJien- 
 sible. The first syllable of τελε- 
 ruv is lengthened by ectasis. 
 
 8. μί τ» %i*ot , not aught foreign, 
 that is, nothing incongruous or ir- 
 relevant, — nothing unsuitable to a 
 drinking scene. For τί 3 many co- 
 pies have μο), nor yet badly: and 
 for Ύορίόσ-ης, we find τορενσαις, in 
 some MSS., — and in Baxter το- 
 μΰσα,ς, unmeaningly. 
 
 9. 0iuxtck larcftifza, a loathsome 
 theme or revolting story, such, for 
 instance, as might have Tereus, 
 or Tantalus, for subject. 
 
 10—11. Of these two lines an- 
 other lection is, μάλλον 9roif» £ιος 
 γουν Βάκχο* Eviot τιμΐν, — lamely. 
 
 12. This verse has been sadly 
 tortured, and altered, and mend- 
 
 haps, of wine, but the metre cries 
 out ; and the sense, too, -whether 
 we render μνστνν, initiated or ini- 
 tiator, is any thing except good. 
 Admirers of Pherecratics will of 
 course like μί/στην νάματος, η Kti-~ 
 wpv: — the text we have adopted 
 (the best out of several, all bad) 
 requires the final syllable of αμα. 
 to be long. 
 
 13. νμενούοίς χ^οτονσαν, literal- 
 ly, applauding hymeneals. The se- 
 cond syllable of νμ%να.\ο\ς is here 
 made long, by dwelling on the v, 
 and the third, again, is shorten- 
 ed before the diphthong -οι. In 
 some copies we see νμΐναίονς ,— -in 
 others, νμινύων,—. in others, νμί- 
 »α»ς»σι, — and for κρότου σα*, not a 
 few have κρατούσαν, ruling-aU 
 
52 xviii. ΐ4. Ανακρέοντος 
 
 14 
 15 
 16 
 
 17 
 18 
 19 
 
 "Ερωτας ερδ" άνόπλους, 
 και Χα/χτα? γελάχτας, 
 κ' αμ,πε'Κοί) ευπέταλον, 
 ευ§ότρυον, κομώσο,ν 
 κούρους και ευπρεπείς, μ,οι 
 αν Φοίβος ουκ αΜύρ•η. 
 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 'Ephe avoifkovs Έρωτας, και Xapiras γελώσαί, και αμ- 
 Trekov €υπ€τάλον, — €υ£ότρνον,—κομώσαν και evTrpeirei? 
 κονρου$, αν Φοί£θ9 μοι ουκ αθνρτ}. 
 TRANSLATION. 
 Make unarmed Cupids, and Graces laughing, and a vine 
 spreading-wide, — well-clustered, — leafy : likewise grace- 
 ful youths, if Phcebus for me be not to sport. 
 
 14. "Ερωτας ερ£' ανόπλους, make 
 thou (or construct) Cupids unarm- 
 ed, that is, without either bow or 
 quiver. Numerous readings of 
 this verse also, occur; as, και Έ- 
 ρωτας ΰιόπλους, — χάρασσ "Ερω- 
 τας ανόπλους, — χαρασσ ' Ερωτ α- 
 νόπλον, which last (the emenda- 
 tion of Barnes) is both in metre 
 and sense unobjectionable : — J 
 am nevertheless of opinion, that 
 χάρασσε was merely the margi- 
 nal interpretation of eft, " fac" 
 vel " finge," make, carve, deline- 
 ate, emboss. 
 
 15. In this line the first sylla- 
 ble of Χάριτα? is lengthened by 
 ectasis,— that is, by dwelling up- 
 on the letter ρ in the beginning 
 of the next syllable. 
 
 16. Of this verse several other 
 readings are found. The second 
 syllable of άσπιλο* is lengthened 
 by ectasis,— that is, by dwelling 
 on the liquid λ, which begins the 
 final syllable of the word. 
 
 18. Some contend for σννα,ηη 
 κούρους Ινπρ επείς,— others, again, 
 for ttat κούρους ίϋττριτπκ, /xo»,— or 
 for συν Χυττρνηίΐς 3s κο^βυς : — the 
 first and second of these are in- 
 sulting to the metre,— the last is 
 an insult even to the language. I 
 from conjecture, in the absence 
 of aught better, first edited •§«?, 
 do thou put, — but now, χαί. 
 
 19. This verse, too, like most 
 of the others of the present Ode, 
 is differently worded in different 
 copies, — but unmetrically in al- 
 most all : — the poi, in line 18, it 
 should be observed, is linked in 
 construction with φοΓέος, — thus, 
 if Phcebus for me (that is, if my 
 Phozbus) do not sport, or, have not 
 sported j namely, either with the 
 lyre or at quoits. Most copies 
 have αν μ.*) Φοίβος άθιίρ»?. The me- 
 tre of this Ode is, perhaps, more 
 properly Antispastic dimeter ca- 
 talectic (see Ode xxvii, below, ) 
 than Iambic dimeter catalectic 
 
ΤΗΙΟΤ ΜΕΛΗ. XIX. 1. 
 
 53 
 
 -k- 
 
 'ί1ΔΗ Ν ΙΘ'. Έις το Αεΐν Πίνειν. 
 
 Ή <γη μέλαινα, πίνει, 
 πίνει δε δένδρε* αυτήν 
 πίνει ^άΧα,σσ άνα,ύρους, 
 ο δ* ήλιος &άλασ-<ταν, 
 τον $' ηλιον σελήνη. 
 Τι (λοι [*ά,γβσ(ί, εταίροι, 
 κοίυτώ ^έλοντι πίνειν ; 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 Ή μέλαινα <γή πίνει, Be δένδρεα πίνει αυτήν *&α\άσ- 
 σα πίνει avavpovs, — 8ε 6 η\ιοε θάλασσαν, — δε σεΧήνη 
 τον ηΚιον. Τι, εταίροι, μαγεσθε μοι, αντω και *&ε\όντι 
 πίνειν; 
 
 TRANSLATION. 
 
 ODE XIX. On the Behoof to Drink. 
 
 The Bable Earth drinks, and the trees drink her : the 
 sea drinks torrents ; and the sun, the sea ; and the moon, 
 the sun. Why, comrades, quarrel ye with me, myself too 
 wishing to drink ? 
 
 \. η γη pikuwoi. irm\, the black 
 (or, perhaps more properly, sable 
 or opaque) Earth drinks, meaning 
 the dews and rain that fall, — and 
 the snow, and sleet, and hailstones, 
 when melted. 
 
 2. τη«» £§ Sivtyt uwrrjv, and the 
 trees drink her, that is, their roots 
 imbibe moisture from the ground, 
 and convert it into sap. The neu- 
 ter plural dfrfyia has a verb sin- 
 gulars—conformably to the more 
 general custom. 
 
 3. Instead of Χάλασα•' αναυρονς, 
 several MSS. and editions have 
 θάλασσα £' άνρας, and the sea the 
 
 gales or breezes, — but from this 
 reading the sense suffers, seeing 
 the land too drinks the gales. 
 
 4. *5λ»ος θάλασσαν, the sun— the 
 sea : alluding to the upraising of 
 vapour — from the surface of the 
 waters by the sun's heat. 
 
 6. ίίλίορ σελίινν), the moon the sun: 
 referring to the light which the 
 moon intercepts and reflects. 
 
 6. τί pot μ.άγισ§% ; why fight ye 
 with me ? why do ye quarrel with 
 me? Why do ye oppose me — in my 
 wishes to drink ? seeing- that the 
 opaque Earth, the trees, the sea, 
 sun, and moon — all drink. 
 
54 
 
 xx. ι. Ανακρέοντος 
 
 w — w 
 
 — w — w - 
 
 Ή Ταντάλου ποτ εστη 
 λίθος Φρυγών εν ογβα,ις' 
 xcu πα,Ίς ποτ όρνις επτη 
 ΥΙα,νδίονος γ/λι8ών. 
 i^yio ό εσοπτρον ειψ, 
 όπως άε) βλεπης μ,ε. 
 Έγώ %/τών ηενοίμην, 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 'JET Τάνταλου πότε άστη \ίθο$ εν oyuais Φρνηων και, 
 ttcus TlavSiovoi πότε ετττη γελίΰων opvLs. Δε είην €γα> 
 εσόπτρον, οττω$ άει β\επτ)9 με. Γενοίμην έγω χίτων, 
 
 TRANSLATION. 
 
 ODE XX. On a Damsel. 
 
 The daughter of T£n talus once stood a stone on the 
 heights of the Phrygians, — and the child of Pandion once 
 flew — a swallow bird. And would I were a mirror, that 
 thou might always look-at me. May I become a garment, 
 
 1. h Ταντάλου, she of Tantalus, 
 understand Svyuryp, daughter, or 
 walV, child: namely, Niobe, who 
 was changed into a stone, — be-, 
 cause she had insulted Latona. 
 
 2. Φρνγνν lv οχθαις, on the hills 
 (or heights or banks or seashores) 
 of the Phrygians. Tantalus, the 
 father of Niobe, was king of Ly- 
 dia, a region of Asia Minor, bor- 
 dering on Phrygia. Some think 
 mount Sipylus, on the banks of 
 the Maeander, is here meant. 
 
 3 — 4. τταΓς ΙΙαν^οίος, Pandion S 
 child or daughter, namely, Progne 
 or Procn'e, wife of Tereus— king 
 of Thrace; who, having murder- 
 
 ed her own son Itys, was meta- 
 morphosed into a swallow. Al- 
 lusion, indeed, was made by the 
 poet to this circumstance in Ode 
 All, above,— where, it would ap- 
 pear, A nacreon hints that it was 
 Philomela, the sister of Progne, 
 and not Progne herself, who had 
 her tongue cut out, and was af- 
 terwards changed into the swal- 
 low: — όρνις iW») χελ»^ t, flew — a 
 bird, a swallow j or the ordo may 
 be altered in various ways. 
 
 .5. 'ίσοπτ(ο», a mirror or specu- 
 lum, that is, a looking-glass. 
 
 7. χιτων, a tunic, or, a robe — a 
 garment or dress.• some, however 
 
ΤΗΙΟΤ ΜΕΛΗ. XX. 8, 
 
 δδ 
 
 8 
 9 
 10 
 11 
 12 
 13 
 14 
 15 
 16 
 
 όπως αε) φοργς με. 
 "Τίω/3 §έλω (γενέσθαι, 
 όπως σε χρώτα λούσω. 
 Μύρον, γύναι, γενοΐμην, 
 όπως εγώ σ αλείφω. 
 Και ταινίη δε μαστών, 
 και μάργαρον τραχήλω, 
 και σάνδαλον γενοίμψ, 
 μόνον ποσιν πατεΐν με. 
 
 ----- 1-+ 
 Μ--||--|- 
 
 --Ι--ΙΙ--Ι- 
 --I--H--I- 
 --ί -i--- 
 --Ι-ΙΙ--Ι- 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 οπω9 άει foprjs με. Θέλω γενέσθαι νΰωρ, όπως λούσω 
 σε χρώτα. Τενοίμην μύρον, yvvai, όπως €γω αλείφω σε. 
 Δε καν ταίνιη μάστων, και μάρμαρου τραχήλφ, και σαν- 
 δαλον γενοίμην, μόνον ττάτειν με ττόσι. 
 TRANSLATION. 
 
 that thou could always wear me. I wish to become wa- 
 ter, that I may bathe thee — thy skin. May I become fra- 
 grant-ointment, Ο ! fair-one, that I may anoint thee. And 
 both girdle of thy breasts, — and pearl for thy neck, — and 
 sandal may I become, merely that thou may tread me with 
 thy feet. 
 
 will have the meaning, here, to 
 be " smock or frock" but I can- 
 not discover for what reason, — 
 unless it be, that the χιτων was 
 usually made of linen. 
 
 10. όπως σε χρωτα λούσω, lite- 
 rally, that I may wash thee (as to 
 the) skin j that is, that I may lave 
 thy person or flesh or body : either 
 understand κατά, otherwise take 
 both accusatives as the regimen 
 of λονσω, that I may wash thee the 
 skin, — meaning familiarly, that 1 
 may wash thy skin for thee. 
 
 11. yvtui, Ο woman, familiarly, 
 like avQfunt, Ο man, in Ode IX. 
 
 12. For αλείφω, some give ά- 
 λβίψα», in unison with λούσω. 
 
 13. raiviv, a fiUet or a girdle, a 
 breasUband or a swathe. Baxter 
 says, — Tama ista strophium fue- 
 rat, — sive, quod ait Nonius, bre- 
 vis fascia, quae virginalem papil- 
 larum tumorem cohibebat. 
 
 16. μόνον ποσίν πατιΐν με, lite- 
 rally, only to tread me with (thy) 
 feet : supply ως, that, — and then 
 the verse may be rendered with 
 more freedom, — merely that thou 
 may tread me with thy feet. For 
 ιτατίΓρ μι, some copies have πα- 
 τεΐσΰαι, but not well. 
 
56 
 
 χχι. ι. Ανακρέοντος 
 
 'φΔΗ ν ΚΑ'. Έις 'Εαυτόν. 
 
 ΔΟ'ΤΕ μοι, δότ ώ γυναίκες, 
 Βρόμιου πιεΊν άμυστί' 
 ύπο καύματος yap ηδη 
 προπονείς αναστενάζω. 
 Αοτε δ* ανθέων εκείνων* 
 στεφάνους οίους πυκάζω 
 τα μέτωπα μου 'πικαίει. 
 
 — ^ — ν 
 
 SS VS — \s — \s — — 
 
 %-» ν/ — ν — ν/ 
 
 V V — V Ι— ν — 
 
 ^ ~ ^/ 
 
 \^ — ν — \J — 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 Δότε μοι, δότε, ω γυναίκες, ττίειν αμΰστι Βρόμιου' jap 
 ήδη πρόττοθεις υττο καύματος αναστενάζω, Δε Βότε εκεί- 
 νων άνθεων τα μέτωπα μου επικαίει οίους στέφανους 
 πυκάζω. 
 
 TRANSLATION. 
 
 ODE XXI. On Himself. 
 
 Give me, give, Ο women, to drink drainingly of Bac- 
 chus : because-that now forecraving under a burning-heat 
 I deeply-sigh. And give me of those flowers: — the fore- 
 head of me parches such chaplets as I thickly-heap-on. 
 
 2. Bpo/xioy Trim, to drink ofBro- 
 mius or of Bacchus } — partitively, 
 and hence in the genitive case,— 
 and not the accusative : we may 
 understand — either the preposi- 
 tion 1*, or the noun μέρος, part or 
 share: — ά,μνστ), rapaciously, glut- 
 tingly, greedily, copiously without 
 taking breath. The α/χ,υστις was a 
 very large drinking-cup,— which 
 to drain at one draught was con- 
 sidered a great feat, — a practice 
 of Thracian origin. 
 
 4. προίΓοθιίς» being -beforehand- 
 render ed-desirous, but freely, be- 
 ing forspent with parching-thirst. 
 
 In room of προτοθιΣς, some MSS. 
 have ιπ/ραθίκ, fired, — but which 
 the metre rejects: instead there- 
 fore of πνρω$»1ς, several editions 
 have πνροίΐς, metrically enough. 
 
 5. uvQeuv tKiivut, of those fiow- 
 ers; either pointingly, else with 
 allusion to some particular flow- 
 ers, — especially to roses. In lieu 
 of Εκείνον many contend for txu- 
 vov, of him, — that is, Bacchus' s. 
 
 6. στιφάιους οίους, such crowns 
 or chaplets, as—. Barnes edited 
 στιφάίονς $' οίους πνχάζν, but σπ- 
 φά,ιους yac hi /ς πυχ,άζιύ would have 
 been preferable. 
 
ΤΗΙΟΤ ΜΕΛΗ. XXI. 8. 
 
 57 
 
 To Se xafyux των 'Ερώτων, 
 xpaSlij, τίνι σκεπάζω ; 
 
 w ν-> — ^ — *-» 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 Je το καύμα των Ερώτων, κράδιη, τίνι, σκβπάζω ; 
 TRANSLATION. 
 
 But the burning-heat of the Loves, Ο heart, with what do 
 I enwrap ? 
 
 8. το oi xavfjLCC των ^Ερντων, but 
 the burning heat of the Loves, or 
 of the Cupids, that is, the fire (or, 
 the fever) of Desire, — in milder 
 terms, the ardour of affection. 
 
 9. κρασ\'»?, thou heart ,• here un- 
 derstand ψ*, my. The heart was 
 (and still is) by many considered 
 to be the seat of love, — and con- 
 sequently liable to inflammation 
 from that passion. However er- 
 roneous this supposition may be, 
 the poet doth, naturally enough, 
 address himself to that organ in 
 the heat of his excitement. For 
 xpotfrit) in the vocative case, seve- 
 ral MSS. and editions have κρα- 
 ty, in the dative, — without any 
 comma after it, — with what-heart 
 
 do I shroud the heat of the Loves? 
 Faber omits rm, and reads ί»σ- 
 κεπάζω, but without mending the 
 sense : — σκεπάζω ; do I cover? so 
 as to cool the inflamed viscus by 
 extracting the inordinate heat. 
 By chaplets of roses, or of pars- 
 ley, the head was kept cool ; but 
 we have not heard, that, either 
 roses or yet parsley were appli- 
 ed to cool the heart. In place of 
 σκεπάζω, Barnes edited σκεπάσ- 
 σω, retaining, κρασ^η, r'm. With 
 r'm may here be understood ei- 
 ther στεφάνω or σκιττόυτμ.Λ'Π,—οτ 
 some such word. The Syntacti- 
 cal ordo is., ol rUt σκεπάζω το καύ- 
 μα rut Έ,ρωιων, κρα¥\η \ 
 
58 χχιι. ι. Ανακρέοντος 
 
 'ΟΔίΤ KB'. 'Εις ΒάθυλΚον. 
 ΠΑΡΑ λ τψ σκιην, Βά,θυλλε, 
 κάθισον καλόν το ShSpov, 
 άταλά^ σείει δε χα/τα£ 
 [Μίλσ,κωτά,τω κλα,8ί<τχω. 
 Πα/3α $' ά,υτώ ερεθίζει 
 πηγή ρέουσα, Τίειθοΰς. 
 
 ν» ν/ — ν» — ν/ — ν 
 
 VW — W — W — 
 
 \s — ν» — ν» — 
 
 W W - ν 
 
 — ν ν 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 Κάθισον, ΒαθύΧλε, πάρα την σκίην καλόν το ΒίνΒρον. 
 Be, μα\ακώτατο) κ\αΒίσκω, aelev airaXas χαιταϊ. Ae 
 πάρα αύτω πήγη peovaa TleiOovs βρβθίζει. 
 
 TRANSLATION. 
 
 ODE XXII. On Bathyllus. 
 Sit-thee-down, Bathyllus, in this shade : — stately the 
 tree, — and on pliantest branch shakes its delicate leaves ί 
 And near it a fountain, flowing with Persuasion, invites. 
 
 1 . παρά tV σκήν, in the shade : 
 followed by the accusative case, 
 iraph signifies " in. or amidst," as 
 well as, about, over, at, beside, a- 
 gainst, nigh-to, with: παρά. tV σκι- 
 V, means " in vel sub umbra." 
 
 2. κάθισον, sit down or seat thy- 
 self; here, either understand ae- 
 aurbv, or take the verb in a neu- 
 ter sense. Some copies have κα- 
 θίσω, I will sit down : — καΚον τί> 
 δίνδρον, beautiful the tree, casting 
 the shade. 
 
 3. άτταλας fftiei & χαίτας, and it 
 moves its tender locks, that is, its 
 leaves, or, foliage : from this ex- 
 pression, in connection with the 
 next line, it may, reasonably, be 
 inferred that the tree was a pop- 
 lar of some sort ; most likely, an 
 aspen .• because the very lightest 
 
 breath of wind causes the leaves 
 of these trees to shake ; so nice- 
 ly do they appear balanced upon 
 their respective shoots; besides, 
 poplars delight to grow in the vi- 
 cinity of fountains, and of pools 
 and streams. The first syllable 
 of o-cUi is, here, long or short. 
 
 5. I scan this verse as a pure 
 dimeter Ionic a Minore, — but it 
 may indeed be scanned in a dif- 
 ferent manner. To prevent a hi- 
 atus, Barnes inserted y after av- 
 τω, but unnecessarily : — ίριθί£ι», 
 excites or provokes, rouses or sti- 
 mulates, rather than allures or in- 
 vites—either to itself and shade, 
 or yet to sleep. 
 
 6. wyri ρεονσα Πάθους, Persua- 
 sion s fountain flowing, or, a fount 
 flowing with persuasion. 
 
ΤΗΙΟΤ ΜΕΛΗ. XXII. 7- 
 
 59 
 
 Ύΐς otv ουν ορών παρέλθοι 
 καταγώγιο» τοιούτο ; 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 Tis ουν ορών αν irapikOot τοιούτο καπαηωηιου ; 
 
 TRANSLATION. 
 
 What-one, therefore, seeing it, would pass-by such a re- 
 treat ? 
 
 7. τις α» ovr Sp5» τταριλθο», who, 
 then, upon seeing [the shade, and 
 the tree, and fountain— together 
 forming• a powerful inducement, 
 to sit down] would pass by with- 
 out sitting down here? What one 
 
 could go-past such a place without 
 feeling its allurement? 
 
 8. καταγωγών τοιούτο, such a SO" 
 journ or secess — a retreat so com" 
 modious,— away from the scorch- 
 ing rays of the sun. 
 
60 χχιιι. ι. Ανακρέοντος 
 
 'φΔΗ ν ΚΓ'. 'Εις Χρυσο'ν 
 
 1 Ό ΥΥΚουτος έίγε 'χρυσού 
 
 2 το ζτ\ν παρήγε %νητοΐς, 
 S εκα,ρτέρουν φυλάττων 
 
 4 ίν ο%ν ^α,νεΐν επελθτ], 
 
 5 λά§Ύ] τι κού πα,ρέλθτ]. 
 
 6 Έ/ S* ου 8 ε το πρία,σθα,ι 
 
 7 τοζγν ενεστι ^νητοΊς, 
 
 8 τι κού μάτην στενάζω ; 
 
 9 Τ/ κολ γόους προπέ[Λπω ; 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 Ec<ye δ Π\οντο9 yjp -νσου τταρήηζ το ζην ^vtjtols, €κάρ~ 
 repovv φυΧλάττων ϊνα αν ^aveiv εττέΧθτ), \a£y τι και, 
 ΊταρεΚθΎ], Δβ ei το ττριάσθαι το ζην ovBe eveari *&νη- 
 Toty, τι και στβνάζω μάτην ; Και, τι προπβμττω <γοον$ ; 
 
 TRANSLATION. 
 
 ODE ΧΧΙΙΙ. On Gold. 
 If-indeed -τηατ affluence of gold did extend existence 
 to mortals, I were-perseverant guarding it: so-that if death 
 should come-up, he might take some — and pass-by. But, 
 if the purchasing the life is no-how in mortal-men, why do 
 I both sigh — in vain ? And why do I send-forth groans ? 
 
 4. SctvtTv, to die j the infinitive, 
 without the article, for Θάνατος, 
 
 W ~MI — 
 
 — t — ii — - 
 — ί — LI — 
 
 H-ll— 
 
 "l w ihT 
 -Ml— 
 
 w — |v^ —II*-' — — 
 
 ~ -I- -II- - - 
 
 1. 6 Πλούτος, literally, the Plu- 
 tus, that is, freely, wealth or opu- 
 lence — riches or abundance. 
 
 2. το ζίϊν, the to live, freely, the 
 life : the infinitive put substan- 
 tively for τμ ζω** vel βπττ,ν, — or 
 τον β'ιον vel β'ιοτον. 
 
 3. tuacTtpovv ψνλαττων, literal- 
 ly, I did persist (or I persevered) 
 guarding, or, saving miserly. 
 
 Death, personified. 
 
 5. λά£η τι, he (namely, Death,) 
 might take some: here understand 
 Xfvaov, of the gold. 
 
 6. Όυϊι, no how, or, at no price: 
 upon no conditions.• — το ττρίασ-θα», 
 the to purchase, — that is, the pur- 
 chasing. 
 
ΤΗΙΟΤ ΜΕΛΗ. XXIII. 10. 61 
 
 10 
 11 
 12 
 13 
 14 
 15 
 16 
 
 θα,νεΐν yap ει πέπρωται, 
 τ Ι %ρν<τος ωφελεί με ; 
 Έ^ο/ γένοιτο πίνειν 
 πιόντι 8* οίνο ν tjSvv, 
 εμοΐς φίλοις συνεΊναι* 
 εν $' άπαλαΐο~ι κοίταις 
 τελεΐν το\ν Άφροίίτα,ν. 
 
 
 sj -xj -ιμ »!_ 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 
 Γαρ €ί 7Γ67τρώταί ^rdvetv, τν χρυσό? ώφέλ€ΰ με ; Γένοιτο 
 
 έμοί TTLveiv £e ττιόντι ηδνν οίνον συνείναι έμοΐί φίΧοιτ 
 
 he ev κοίταΐ9 άπαΚαίατι reXetv ταν ΑφροΒίταν. 
 
 TRANSLATION. 
 
 For if it be fated to die, what doth gold avail me ? Be it 
 mine to drink : and drinking delicious wine to be-in-com- 
 pany-with my friends : and upon couches soft to consum- 
 mate enjoyment. 
 
 10. Saf£iV yap Ιι πεπρωτχι,β)Γ, 
 if it be fated (for me) to die: or, 
 by taking SxvtTv, as the nomina- 
 tive to πεπρωται, we might say, 
 if to die (or, if death) be fated, — 
 that is, be decreed by the Fates. 
 
 11. T4 χρυσός ώφιλΐΐ μ.ι ; what 
 doth gold profit or advantage me? 
 
 12. ψοΐ γετοιτο, literally, be it 
 unto me, freely, let it be mine, that 
 is, my lot or delight. 
 
 15. The first syllable of anew 
 λα,ΐσι is here made long. 
 
 16. tuv Άφροδίτα,ν (in the Do- 
 ric dialect, smilingly) for rw Ά- 
 φροδίτνιν, Venus, namely, the god- 
 dess of Love, for love itself j free- 
 ly, the pleasure of Venus, or, the 
 sport of love. Barnes and seve- 
 ral others reject the Doric form 
 τανΆφροΜταν, and adopt the Io- 
 nic and common dialect, τψ Ά- 
 ppoirnjF,— but certainly not con- 
 sentingly with some of the best 
 MSS., though yet not altogether 
 without authority. 
 
χχιν. ι. Ανακρέοντος 
 
 'φΔΗ ν ΚΔ'. Έι$ΈβΜΑΓβν 
 
 ΈΠΕΙΗ λ βροτος ετεγβψ 
 βιοτου rplSov οδεύειν, 
 %ρονον εγνων ον πα,ρηλθον, 
 ον δ* ε%ω δροιμ,εΐν ουκ όΐδα. 
 Μεθίετε, φροντίδες, με* 
 
 ν/ W — — 
 
 ν — — 
 
 — ν> — \s 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 Επ€ίη βτίχθην βρότοε oSevew τρίτον βίοτον, — έγνων 
 χρόνον ον παρήλθον, — δε ον, έχω δράμειν, ουκ oiha. 
 Φρόντί&6$ μβθίετε με' 
 
 TRANSLATION. 
 
 ODE XXIV. Upon Himself. 
 
 Seeing-that I was born a mortal to travel the path of 
 life, I know the time which 1 have passed, but that-which 
 I have to run I do not know. Disquietudes, quit-ye me : 
 
 θον, Ζγκον,—ΐίοτ bad; though less 
 elegant, indeed, than that above, 
 however much better in rhythm. 
 Barnes, always fond of altering, 
 edited, -χρόνον, ος παρήλθεν, εγνων, 
 which some affect to admire. 
 
 4. This verse is, really, one of 
 the most anomalous in the Odes 
 of Anacreon — the last foot being 
 a fourth epitrite. To remedy this 
 seeming inconsistency in the me- 
 tre, Barnes changed όνκ όϊδα, in- 
 to τις όίδε• 
 
 5. I have given (from conjec- 
 ture) μεθίετε, for μεθετε, — and in 
 lieu of με αι φροντίδα ( or, as o- 
 thers have it, με φροντίδες), I of- 
 fer φροντίδες pe,—&8 suiting both 
 the metre and the sense equally. 
 The verse is a periodic, — and e- 
 quivalent in time to an Ionic. 
 
 1. erreirj, since or seeing-that, or, 
 forasmuch as. The second sylla- 
 ble is shortened, before the long 
 vowel which follows; and yet in 
 very many editions we find επει- 
 δή, —making the first foot an an- 
 tispastic. The final syllable of 
 Θροτος, being caesural, might be 
 made long — at pleasure ; and, in 
 like manner, the final syllable of 
 τρίτον, in the next verse. Here, 
 the metre is dimeter Ionic a Mi- 
 nore, — with a great diversity of 
 feet ; yet only such feet as are ad- 
 mirably suited to the sense. Va- 
 rious commentators have tortu- 
 red this beautiful Ode — in ways 
 too many to be enumerated. 
 
 3. εγνων, I have known or I do 
 know ; I am fully sensible of. Ano- 
 ther reading is χρόνον, bv παρήλ- 
 
ΤΗΙΟΤ ΜΕΛΗ. XXIV. 6. 
 
 63 
 
 μηδέν μοι % ifMV έστω. 
 Uph kf*€ φθάα-Ύ] τελευτψ, 
 πα,ίξω, γελάσω, %ορεύο~ω, 
 μετά, του καλοί Αυα,ίου. 
 
 <-» V — S/ 
 
 — — \J \j\ 
 
 w ν ~w| 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 άστω μήΒβΡ μοί και ΰμιν. TIpLv reXevryv φθάστ) 4μ€, 
 παίξω) γελάσω, χορβύσω, μίτα του κάλου Αυαίου. 
 TRANSLATION. 
 
 let-there-be nought with me and you. Before-that to-die 
 prevents me, I will sport, I will laugh, I will dance, with 
 the beauteous Lyaeus, 
 
 6. The common lection is, και 
 νμ7ν, which I reckon abominable. 
 The final syllable of νμΐρ is, ne- 
 cessarily, long ; but that of νμ\ν, 
 is short,— and the verse requires 
 it to be so. The first foot here is 
 a molossus, — as in the 11th verse 
 of the thirty-sixth Ode, below ; 
 but this foot, though equivalent 
 to an antispast, or an Ionic, or a 
 choriambus, is almost too grave. 
 
 7. riKeurjjv in the Ionic dialect 
 for τελευταν, to die, or, to come to 
 an end: here the infinitive is u- 
 
 surped substantively,-— rtXfwrj/v, 
 to come to an end, for το τ«λοί, the 
 end j that is,"mori,"fo die, is put 
 for " mors," death. Some copies, 
 however, have to tsXos, in place 
 of TeXevTTJv, — against the metre, 
 entirely. But the substitution 
 of φθάσαι rckevrqv for φθάστ) re- 
 Xevrjjv, cannot be viewed in the 
 light of an emendation. 
 
 8. This verse begins with an 
 Ionic a Majore, — like verse 5, of 
 Ode V, above, — and here more 
 unequivocally than there. 
 
64 χχν. ι. Ανακρέοντος 
 
 •φΔΗ Ν ΚΕ'. Έ/^Έαυτβν. 
 "ΟΤΑΝ πίνω τΙν~ οΐνον, 
 εύίουσιν ά,ι [/,έριμ,να,ι. 
 Τ/ [λοι πόνων, τί μόγβων, 
 τί [λοι μέλει μερίμνων ; 
 θα,νεΐν με 8εΐ κόίκοντα,' 
 τί δε τον βίον πλανώ μ&ι ; 
 
 -ΜΗ 
 
 \\J - ^ - 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 r Οταν πίνω τον οίνον, άι μβρίμναι ίνΰούσι. Τι μέ\€ΐ 
 μοι πόνων, τι μόχθων, τι μοι μερίμνων ; Δει με *&av€iv, 
 και ακόντα % Be τι πΧανώμαι τον βίον ; 
 
 TRANSLATION. 
 
 ODE XXV. On Himself. 
 When I am-drinking wine, cares are-lulled. What bu- 
 siness- is- there to me with turmoils, — what, with disqui- 
 ets, — what to me with solicitudes ? It behoves me to die, 
 even-though unwilling; and why beguile-I-my-self oflife? 
 
 1. As the Metre requires the 
 second foot of every verse to be 
 an iambus, either the first sylla- 
 ble of πίνω is (here) made short, 
 else, with Barnes, we must read 
 πιω,— since a spondee in the se- 
 cond place cannot with propriety 
 be admitted. And yet in verse 5, 
 it is true, the first syllable of the 
 third foot is a spondee — against 
 the general practice of Anacre- 
 on ; but then there is a beauty in 
 that foot, and at the same time a 
 spondee is not in the third place, 
 of an iambic verse, inadmissible. 
 
 3. πόνων, with toils or exertions, 
 with troubles or anxieties: but for 
 πόνων, Baxter gives us γόων, with 
 griefs or lamentations —a reading 
 
 which Barnes greatly approved. 
 In most if not all MSS. this verse 
 runs thus : ■ — τί μοι πόνων, τί μοι 
 γόων ; nor badly, indeed; if γόων 
 be ( in the pronunciation, ) con- 
 tracted into a monosyllable. 
 
 5. κακοντα, even although unwil- 
 ling, — the emendation of Baxter, 
 for καν μη 3βλω. The spondee in 
 the third foot suits the sense ad- 
 mirably, — as being expressive of 
 reluctance. Barnes has, Ζανοίμι 
 καν μελήσας, — metrically enough, 
 and nothing farther. 
 
 6. And why do I miss (or stray) 
 me as to life, that is, why should I 
 not live whilst lean live, —keeping 
 in the true road? The first foot 
 is here an anapaest. 
 
ΤΗΙΟΤ ΜΕΛΗ. XXV. 7. 
 
 65 
 
 7 
 
 8 
 
 9 
 
 10 
 
 Ώίωμεν οΰν τον οΐνον, 
 τον του καλοϋ Λυα,ίον 
 συν τω πίειν γά,ρ ημάς 
 εύδουσιν ο\ι μεριμναι. 
 
 L 
 
 V* —\\\J 
 
 —\\\J - 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 ΙΙιώμεν ουν τον οίνον, τον τον κάλου Λυαίον yap συν 
 τω ημα? ttUlv, αι μερίμναί evhovai. 
 
 TRANSLATION. 
 
 Let us therefore quaff the wine, — the wine of jolly Bac- 
 chus: for the whilst that we-are-drinking, cares sleep! 
 
 placed between τω, and its sub- 
 stantive, nivew, — for the infini- 
 tive πίνειν 13, very justly speak- 
 ing, an indeclinable noun in the 
 
 9. ovv τω irieiv γαρ ημάς, lite- 
 rally,/^ (or, because) with the us 
 drinking, — that is, for at the time 
 that we are drinking, — or simply, 
 whilst we drink. This verse, as I 
 have given it, is the emendation 
 of Scaliger, in lieu of the old vul- 
 gate, oi)P τω 8e πίναν ημάς, which 
 some editors still adopt, and de- 
 fend. But, independent of the 
 spondee in the third foot (which, 
 since there is a spondee in a si- 
 milar situation in verse 5, above, 
 might pass ), does 8e convey all, 
 that yap conveys ? Or is δβ well 
 
 dative case? Or, lastly, does the 
 copulative 81 conjoin πίωμεν and 
 έυδονσι, in a way suitable to the 
 sense ? Neither the one reading 
 nor the other seems to me to be 
 genuine, but of the two I prefer 
 Scaliger's. In room of this verse 
 Stephens thought that the first 
 of the present Ode should be re- 
 peated, since the last verse is the 
 same as the second. 
 
66 
 
 χχνι. ι. Ανακρέοντος 
 
 'ΟΔΙΤ Κς'. 'Εις 'Εαυτόν, 
 
 lij^OT' εις μ,ε Βάκγρς ελθτ}, 
 2 γ εύδουσιν ά,ι μ,ερψναϊ 
 
 δοκών δ' εγβΐν τα Κροίσου, 
 
 §ελω καλώς άείδειν. 
 
 Κισσοο-τεφης 8ε κεΐμα,ι, 
 
 πατώ 8* oticavra ^υμώ. 
 
 "Οτλ/ζ*• εγώ δε πίνω. 
 
 
 w - w - 
 
 - ν - - 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 "Ot€ Βάκχο? έΧθτ} eti με, άι μερίμναι ίνΰονσί' δε δό- 
 κων £%€LV τα Κροίσου, ^έλω aelSew καΧωί. Δε κισ- 
 σόστεφηί κζίμαι, δε ^ύμω ητάτω άπαντα. ΌπΧίζ? δε 
 εγω πίνω. 
 
 TRANSLATION. 
 
 ODE XXVI. Upon Himself. 
 When-that Bacchus has come in-within me, cares are 
 asleep : and I, appearing to myself to possess the riches of 
 Croesus, wish to sing sweetly. And ivy-crowned I lie, and 
 in thought trample upon all things. Get-thou-ready ; and 
 I drink. 
 
 1. Various are the readings of 
 this line, with more or less of the 
 semblance of genuineness. In a 
 few copies, for example, we find 
 όταν 6 Βάκχος (ΐσίλθτ],— and in o- 
 thers, ore μ 6 Βάκχος *iaek6n, or 
 έσέλθτ). Scaliger was vastly plea- 
 sed with, όταν εις μ€ Βάκχος e\6rj, 
 and Barnes, to get an iambus in 
 place of the anapaest for the first 
 foot, changed όταν iis μβ, into or 
 ets μ€, as it is now given. 
 
 3. Έχειν τα Κροίσου, — supply 
 χρήματα, the riches or the health : 
 hence the words may be render- 
 
 ed thus, " to have the possessions 
 of Croesus, else, to be in possession 
 of the treasure of Croesus," — that 
 proverbially rich king of Lydia. 
 7. οπλίζω, literally, arm j spo- 
 ken, as some say, jestfully in al- 
 lusion to the weapons with which 
 the person serving, was to pro- 
 strate his master ; namely, with 
 plenty of good wine; but, as o- 
 thers (and with some probability 
 too) affirm, addressed, unto some 
 bystander : " do thou arm thyself 
 for battle," that is, " do thou pre- 
 pare to fight," — but, as for me, I 
 prefer to drink. 
 
ΤΗΙΟΤ ΜΕΛΗ. XXVI. 8. 
 
 67 
 
 8 
 
 9 
 
 10 
 
 Φέρε μ,οι κύπέλλον, ω πα? 
 μεθύοντα* <γάρ μ,ε κεΐσθαι 
 
 Ίΐολυ κρεΊσσον, η &avoVra. 
 
 -k 
 
 I 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 Φερβ μοί, ω παι, 9 κνπέΧλον γαρ ττό\ν κρείσσον μβ tceia- 
 θαι μεθυόντα, η θανόντα. 
 
 TRANSLATION. 
 
 Bring me, Ο waiter, a cup : — for it is much better that I 
 
 lie intoxicated, than dead 
 
 8. This verse, and in like man- 
 ner the remaining two, begin se- 
 verally with an anapaest, — a cir- 
 cumstance which, in some mea- 
 sure, alters the character of the 
 metre : but as the former part of 
 the Ode is dimeter Iambic cata- 
 lectic, I have regarded each ana- 
 paest as being simply equivalent 
 to a spondee — and admissible in 
 
 the first foot of the verse, — con- 
 sidered as Iambic. Whoever, by 
 the bye, dislikes this method of 
 scanning these three lines, may 
 regard them as dimeter Ionics a 
 Minore acatalectic ; or, as asyn- 
 artetous, — consisting each of an 
 anapaest followed by a monome- 
 ter Iambic hypermeter. 
 
 9. [xtQvovTut, inebriated, — drunk. 
 
68 χχνιι. ι. Ανακρέοντος 
 
 Ϊ2ΔΗ Ν ΚΖ'. Έις Αιονυσον. 
 TOT" Αιος ο παις, ο Βάκχος, 
 
 6 λυοΊφρων Αύαιος, 
 όταν φρενας ες άμ,άς 
 έσ-έλθτ) μεΰνδώτας, 
 διδάσκει με χορεύει ν 
 εχω δε και τι τερπνόν, 
 ο τας f /,έθας εραστάς. 
 
 \S — \J — 
 
 ^ — — ^/ 
 
 V — — Κ/ 
 
 >«/ — ν — 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 Ό Βάκχο 9, 6 παι$ του Aios, 6 Χύσιφρων Avaios, όταν 
 μζθνδώτα? €σέ\θτ) es αμα? φρένα?, ΒιΒάσκβί μ€ γρρζύ- 
 eiv δε, 6 εράστα* τα? μέθα?, έγω και τι τέρττνον. 
 
 TRANSLATION. 
 
 ODE XXVII. On Bacchus. 
 
 Bacchus, the son of Jove, the mind- releasing Lyaeus, 
 (when-that he, the-giver-of-ebriety, hath entered intomv 
 mentals,) teaches me to dance : and I, the lover of drink 
 have also a something delightful. 
 
 1. του Διός δ iralV, the boy (or 
 son) of Jove, by Semele (daughter 
 of Cadmus) for mother. In some 
 copies toD is wanting. Διός may 
 be regarded either as a dissylla- 
 ble, or a monosyllable ; if as the 
 latter, the verse, like several o- 
 thers of this Ode, may very well 
 be dimeter Iambic catalecticrbut 
 then, again, other verses (for in- 
 stance, the third, — fourth — fifth 
 — and last,) cannot be reduced to 
 the same standard. I consider 
 the metre of the present Ode to 
 be Antispastic Dimeter catalec- 
 tic, — by some denominated Phs- 
 recratean : — and of the same de- 
 
 scription, also, are, Odes xxxiv, 
 and xxxviii, below. 
 
 2. In most MSS. the reading 
 is ο λυσίψρων, ο Αναίος. 
 
 3. φ^ίνας Ι? αμ,ας, into my (or, 
 our) minds, that is, into my men- 
 tah or heart. Anacreon uses the 
 Doric dialect much in this Ode. 
 
 4. (ΑΒ$υ£ύτ«.ς, vulgo /Αίθυ&τας. 
 This verse and the next are de- 
 cidedly pherecratic, and the feet 
 may be, either as I have marked 
 them; else, an iambus, choriam- 
 bus.and long syllable, or an iam- 
 bus, a dactyle, and a spondee. 
 
 6. For πα» τ» some have καυτό. 
 
ΤΗΙΟΤ ΜΕΛΗ. XXVII. 8. 
 
 69 
 
 8 
 
 9 
 
 10 
 
 Μετά, κρότων, μ,ετ ώδά,ς, 
 τέρπει μ,ε κ Αφροδίτη , 
 κολ τάλ/ %εΚω <χρρεύειν. 
 
 ν^ — w 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 μέτα κρότων) μέτα ω$α?, Αφροΰίτα και, τέρττα μβ, — και 
 7τάλί ^-€λω yppeveiv. 
 
 TRANSLATION. 
 
 With plaudits, with song, Venus too delights me ; and a- 
 gain I wish to dance. 
 
 8. /xet» κρότων, with applauses, 
 or, with plaudits, — that is, with 
 applausive clappings of the hands 
 or feet, — else with rattling raps of 
 the drinking cups against the table, 
 — or, as some think, with casta- 
 nets, namely, small shells made ei- 
 ther of ivory or of hard wood, and 
 employed as rattles, — especially by 
 dancers after the Spanish fashion. 
 
 10. χα* πάλι, and again or once 
 
 more : but Heyne omits χ**, de- 
 trimentally to the connection of 
 the subject, and reads πάλω, me- 
 trically enough. In many MSS. 
 it is true, both και, and •παΚ\ν, are 
 found, but occasioning the entire 
 destruction of the verse. Again, 
 in lieu of καϊ πάλ» §ίλω or και πά- 
 λ^.θελω, another reading is άττα- 
 λωτέρως, more softly or delicately ; 
 nor yet badly. 
 
70 χχνιιι. ι. anakpeontos 
 
 'ΩΔΗ ν ΚΓ'. 'Εις τψ Έαυτοϋ Έτα,ίρκν. 
 ΆΓΕ ζωγράφων άριστε, 
 
 γράφε ζωγράφων άριστε, 
 
 Ύοδίης κοίρανε τε%νης, 
 
 άπεοΰσ-α,ν, ως άν είπω, 
 
 γράφε την έ[χην έτσ,ίρην. 
 
 Γράφε [λοϊ τρίγ/χ,ς τοπρώτον 
 ι άπαΧάς τ ε κ&ι {ΑεΛα,ίνα,ς• 
 1 6 οε κηρος άν δύνητσ,ι. 
 
 V W — \s — \s — w 
 
 \^ w — —II— «-/ — — 
 
 V/W - V — V — — 
 
 ν/ υ - ^/ — v»/ — — 
 
 w n«/ — ^]|— w — v/ 
 
 w v/ - y^ — \s — — 
 
 ww- wll— w — w 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 
 Aye άριστε ζωγράφων, γράφε αρίστε ζωγράφων, κοιρά- 
 
 νε 'Ρόδιη? τέχνης, αττεονσαν, ώ* αν είττω, γράφε την ε- 
 
 μην εταίρην. Γράφε τοττρώτον μου τρίχα? τε αττα\α9 
 
 και με\αίνα9' Se αν 6 κήροί Βυνήταί, 
 
 TRANSLATION. 
 
 ODE ΧΧνίΙΙ. On his Own Mistress. 
 
 Come, best of painters, paint, Ο best of painters, thou 
 
 chief of the Rhodian art, in-her-absenee, as I may direct 
 
 thee, paint my mistress. Paint in-the- first-place for me 
 
 her locks — both soft and black : — and, if the wax be able, 
 
 before the liquid ν beginning the 
 next syllable : or, the verse may 
 be scanned, indeed, as a pure Io- 
 nic a minore. Brunck changed 
 xoipotvi into Kupuvs. 
 
 4». ά,πεουσαν, her absent : — ως civ 
 
 3. Ροό\ιης κοράνι τέχνης ,— prince 
 of the Rhodian art; with allusion 
 to the celebrity of the artists of 
 the Rhodian school• Some say, 
 that, by the gift of Minerva, the 
 people of Rhodes were exquisite 
 limners and sculptors from their 
 earliest years. For *Ρο^»ς τέχνης, 
 several copies have ροδίνις τέχνης , 
 of the rosy (or fair) art: — and for 
 •κόπανε, some read τύραννε, for the 
 sake of the metre ; but unneces- 
 sarily, because the middle syllable 
 of xoipctM is lengthened by ectasis 
 
 £ίπω, as I may have (or shall have) 
 said or told. 
 
 6. Some few sever τοπρωτον in- 
 to two words (to πρώτον) badly, 
 and without any necessity. 
 
 8. ό κηρος, the wax. Pictures 
 were, in Anacreon's time, paint- 
 ed on a waxed ground. 
 
ΤΗΙΟΤ ΜΕΛΗ. XXVIII. 9. 71 
 
 9 
 10 
 11 
 IS 
 13 
 14 
 15 
 
 γρίφε 'λολ μύρου πνεούσ&ς. 
 Γράφε Ρ εξ όλης πα,ρειης, 
 υπο πορφύρσ,ισι χα/τα/ ς, 
 ελεφάντινον μετώπου. 
 Το μεσόφρυον δε μη μοι 
 διακόπτε, μήτε μίσγε' 
 εγετω δ\ όπως εκείνη, 
 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 γράφε και πνέουσας μύρου. Δε, εξ ο\ηε παρείης, γράφε 
 υπο πορφυραίσι γαίται$ έΧεφάντινον μετώπον. Δε μη 
 δι,ακόπτε, μήτε μίσγε μοι, το μεσόφρυον δε έχετω, ο- 
 7τωί εκείνη, 
 
 TRANSLATION. 
 
 paint them also breathing of fragrant-ointment. And, out 
 of a perfect cheek, paint, beneath dark-brown ringlets, an 
 ivory forehead. And do not part, nor yet confound for me, 
 the meeting-of-the-brows: — but let her have, as she hath, 
 
 10. s| όλης παρίας, out of (that 
 is, rising from,) an entire cheek. — 
 By ολν) irapua, Harles distinctly 
 understood — " a full and plump 
 cheek," — in which there was nei- 
 ther sickliness, nor wrinkle ; but 
 all the natural swell and firmness 
 of flesh peculiar to youthfulness 
 and perfect health in a constitu- 
 tion rather inclining to good con- 
 dition but not to obeseness ; and 
 to which, disease seemed to have 
 ever been a stranger. But Bax- 
 ter rejected this meaning, — and 
 gave it to be his opinion, that, as 
 both the cheeks could not be ful- 
 ly represented in the picture and 
 at the same time a side view, the 
 painter \vas not to paint — a full 
 front face, nor yet merely a pro- 
 file, — but was to shew one cheek 
 whole and perfect, the other vi- 
 
 sible only in part, — so that the 
 forehead might be conspicuous, — 
 and the eyes glancing in a direc- 
 tion rather oblique. 
 
 11. νπο πορψνραίσι χα,ίτΛίς, ve- 
 ry literally, — beneath purple ring- 
 lets, — that is, beneath tresses of a 
 rich glossy tint inclining to black, 
 but not jet black. Barnes chang- 
 ed the place of the accent in πορ- 
 φνροασ^ and gave πορφυραΐσι, the 
 adjective for the substantive, — 
 not recollecting, perchance, that 
 the poets often usurped substan- 
 tives (and elegantly) for adjec- 
 tives. Here πορφύρα, purple co- 
 lour, (being a substantive femi- 
 nine, (and χαί'τ»} also feminine, is 
 used for πορφνρέα, — the feminine 
 gender of πορφύρεος (contracted- 
 ly, πορφνρονς) pwrple-dyed. 
 
72 χχνιιι. 16. Ανακρέοντος 
 
 16 
 17 
 
 18 
 19 
 20 
 21 
 
 το λεληΰότως (τύνοφρυν, 
 βλεφάρων 8* ϊτυν κελ&ινήν. 
 To Sh βλέ/Ά(Λ& νυν αληθώς 
 ο\πο του πυρός ποίησον, 
 οίμα, γλα,υκον, ώς Άθήνης, 
 α^αα $ uypov, ώς Κυθήρης. 
 
 ,Ι|_ 
 
 \/ \S — V — ^ 
 
 \s \j — y->\\— ^ 
 ν/ ν — wll— w 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 
 το \β\ήθοτωί συνόφρυν, δε ίτυν βΧίφαρων κελαίνην. Δε 
 
 νυν ποιήσον το β\έμμα αΧήθω? άττο του πύρο5 % — αμα 
 
 >γ\αύκον 9 ώ? Αθήνηε, Be αμα ΰηρον, ω$ Κνθήρη$. 
 
 TRANSLATION. 
 
 the being imperceptibly joint-of-brow, — and with the rim 
 of the eyelids black. And now, make the glance-of-the- 
 eye verily of fire, — at-once blue, as Minerva's ; and at-the 
 same-time soft, as Venus's. 
 
 16. This line has greatly puz- 
 zled, and perplexed the learned ; 
 and many have been their con- 
 jectures respecting the true con- 
 struction of it. In lieu of σν*ο- 
 <Ppw, which is clearly the accu- 
 sative case, and common of the 
 masculine and feminine genders, 
 some will have σννοφρυ, — of the 
 neuter gender, either in the no- 
 minative or accusative case, ac- 
 cording as they wish it to be ta- 
 ken before or after ίχίτω. I con- 
 ceive f fta» to be understood with 
 το λιληθότωί, and that the order 
 of construction is— *χίτω το utcm 
 λιληθότω? σννοφφνν,οπως IkbUyi «%si 
 το ocvro : wherein, Ίχίτω το \ha.i 
 aviotpyvi may simply be interpre- 
 ted by t<rru σνιοψ^νς. 
 
 17. "τυι, the rim, or, the circu- 
 lar-extremity, — meaning, the eye- 
 lashes : — Irw is, here, the accusa- 
 tive case after «χ«τ*>, and hence 
 
 those, indeed, who construe <rvt- 
 οφρν, as the nominative case to 
 this verb, omit the conjunctive 
 particle ^ after βλιφάρυν. 
 
 19. απο του τπ/ρος, very literal- 
 ly, from the fire, — that is, the ele- 
 ment of fire ; more freely, having 
 the brilliancy (or the vividness) of 
 the lightning, or rather, the spark- 
 ling lustre of the diamond. 
 
 21. ίγρον, soft— from being hu- 
 mid, in contradistinction to hard 
 or stern from being dry. By ΰγρος 
 in this verse not only Baxter and 
 Barnes, but several others most 
 triflingly (it is true,) understood 
 C( leering or tremulous or wanton." 
 There is much beauty in the idea 
 of softness from moisture or humi- 
 dity ; because a degree of visible 
 wetness in the eyes adds to their 
 clearness, — and (when not in ex-' 
 cess,) gives enchanting tender- 
 ness of expression to them. 
 
ΤΗΙΟΤ ΜΕΛΗ. XXVIII. 22. 78 
 
 22j 
 
 23 
 
 24 
 25 
 26 
 27 
 28 
 29 
 30 
 31 
 32 
 
 Τράφε ρίνα και παρειάς, 
 po'Sa, τω γάλακτι μίξας. 
 Υράφε γβΐλος, οία Πειθούς, 
 προκαλούμενον φίλημα. 
 Τρυφερού ί' εσω ηενείου 
 περί AuySivco τραγτ/λω, 
 Χάριτες ΐΐέτοιντο πασαι. 
 Στάλισον τολοιπον αυτήν 
 ύποπορφύροισι ΐζεπλοις* 
 διαΦαινέτω δε σαρκών 
 ολίγον 9 το <τώ[Λ ελεγ%ον. 
 
 \J \J — \J\\— \S — .— 
 
 \s ν — ^ll — ν — — 
 
 w ν — , -'|| — v» — — 
 
 ν \s — w ||~" v - / "~ ^ 
 
 **r 1/ — vlj— V — — 
 
 w ^ — <*/ I — \^ — v^ 
 
 VS w— - ^ll — ν — — 
 
 ν ν — '-'ll— <*/•— — 
 
 \^ v./ — v^ll — \s — — 
 
 ««/ V — >»» — v/ — \^ 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 Γράφε ρίνα και, παρειάς, μίξα? ρόδα τω ηάΧάκτι. Γράφε 
 χειλού, οία Πειθούς, ΊτροκαΚονμενον φίλημα, Δε έσω 
 τρυφερού γενείον. περί Αναδίνω τραχήΧω, πάσαι Χάρι- 
 τες πετοίντο. ΤοΧοίττον, στόΧισον αύτην υποπορφν- 
 ροίσι irkirXois* δε όΧιηον σαρκών διαφαίνετω, εΧέγχον 
 το σώμα, 
 
 TRANSLATION. 
 
 Paint a nose and cheeks, blending roses with milk. Paint 
 a lip, like Persuasion's, inviting a kiss. And within the de- 
 licate chin, around a marble neck, let all the Graces flit. 
 
 As for the rest, array her in light-purple robes : — and 
 let a little of her flesh shine-through, disclosing her form. 
 
 27. neft Ανγΰίνω τρ»χτ}λω } lite- 
 rally, around a Lygdine neck, that 
 is, a neck resembling Lygdine mar 
 
 ble, — freely, around a neck white 
 and smooth as the polished marble 
 of Lygdos. The marble of Lyg- 
 dos, (a celebrated quarry in the 
 island of Paros,) was proverbial 
 for its whiteness and its suscep- 
 tibility of the smoothest polish. 
 29. τόλοιπο», as to the rest or as 
 for the remainder. Since, in verse 
 
 6, above, τοπρωτον is properly one 
 word, so here τολοιπον is in like 
 manner one word; and yet Bar- 
 nes has been censured, as an in- 
 novator, for uniting το λοιπόν, in 
 the verse before us. 
 
 30. ντΓοτΓορφιφοκτι πεπλοις, free- 
 ly, inflowing robes of a light (or 
 faint) purple color. 
 
 31—2• ^α^αινετω <5e σα,^ων ο- 
 λίγον, το σώμα, ϊλίγχον, freely, and 
 D 
 
74 XXVIII. 33. ΑΝΑΚΡΕΟΝΤΟΣ 
 
 33 
 34 
 
 'Απέχει' βλέπω γα,ρ αυτήν 
 τάχα, κψε 9 και λαλήσεις. 
 
 Ν^ V — V — \S 
 
 V./ ν/ — *^||— V 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 Απέχει' yap β\έττω αυτήν τάχα, κήρε^ και \α\ήσεΐί. 
 TRANSLATION. 
 
 It is enough : for I behold herself: — shortly, wax, thou 
 wilt even speak!, 
 
 let a little of her skin (or, person) 
 shine-through, betraying her shape 
 or make. By ro σώμα, Barnes took 
 the entire body to be intended ; 
 but the signification, I think, ex- 
 tends merely — to the more pro- 
 minent parts of the person; such 
 
 as a portion of the arms, breast, 
 legs, and (more obscurely still,) 
 the thighs. 
 
 34. τάχα x>jpe xai λαλίσιι?, per- 
 haps, wax, and thou wilt speak ; or 
 «όση, Ο wax, thou wilt speak too, 
 as well as look so much like life. 
 
ΤΗΙΟΤ ΜΕΛΗ. XXIX. 1. 
 
 75 
 
 ν» ν — ν» 
 
 ΏΔΗ ν ΚΘ'. ΈιςΒάβυλλον 
 
 ΓΡΑ'ΦΕ μοι Βάθυλλον ούτω, 
 τον ετα,ΐρϋν, ω ς διδάσκω. 
 Αιπα,ράς κόμ,α,ς ποίησον^ 
 το\ μεν ενΰοθεν [Αελοωνα,ς, 
 τα $' ες όίκρον ηλιώσοις. 
 "Ελικας $' ελευθέρους μοι 
 πλοκάμων, άτα,κτα, συνθεις, 
 άφες ώς %ελουσι κεΊσθ&ι. 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 
 Γράφε μοι Βαθνλλον, τον εταίρον, ούτω ώ* διδάσκω. 
 Ποιήσον λίτταρα$ κόμαί, μέλαινας μεν τα ένδοθεν, Be 
 ήλιώσα? τα es άκρον. Δε σύνθει,ς ατάκτα ελεύθερον» 
 ελίκας πλοκάμων μοι, άφε$ κείσθαι ω$ βελόνα χ. 
 
 TRANSLATION. 
 
 ODE XXIX. On Bathyllus. 
 Paint for me Bathyllus, my favourite, in-such-wise as 
 I instruct. Make for him glossy hair, — dark indeed as to 
 the parts within, but sunbright as to those at the extremi- 
 ty. And disposing without-order the free curls of his locks 
 for me, suffer them to rest as they like. 
 
 5. νιλιωσ-ας, sun-cofowrec?, mean- 
 ing, a bright golden yellow-^-par- 
 taking of the hue, which we deno- 
 minate carroty. Hair of this yel- 
 lowish red tint was held in great 
 esteem among the Greeks. In 
 place of τα in this and the prece- 
 ding verse, the Vatican MS. has 
 τάς, — contrary to the sense, and 
 contrary to the metre. 
 
 8. In lieu of θελονσ-», in the in- 
 dicative mood, some contend for 
 §*λΐύσι, in the subjunctive. 
 
 2. τον sroupov, understand ψον, 
 literally, the my companion or as- 
 sociate, freely, that favourite — of 
 mine, or, my darling boy. 
 
 3. λιτταράς χό/*ας ττοίησορ, make 
 glossy hairs, that is, make his hair 
 glossy or shining, — as though re- 
 fulgent with fragrant oil or oint- 
 ment. 
 
 4. τα μι* «Jefii» χλαίνα?, black 
 as to the parts indeed within, that 
 is, dark as to the inside of the curls 
 or ringlets. 
 
76 χχιχ. 9. Ανακρέοντος 
 
 9 
 
 10 
 11 
 12 
 13 
 14 
 15 
 16 
 17 
 
 Άταλον $ε καλ 8ροσώ8ες 
 (ττεφέτω μ,ετωπον όΦρύς, 
 κυ&νωτερη δρακόντων. 
 ΝΙέλα,ν ομ,μ,α, yopyov ε<ττω, 
 κεκερα,σ-μίνον γα,λψτ}' 
 το μϊεν εξ "Αρηος ελκον, 
 το $ε της καλής Κυθψης* 
 2W τις το fuv ^oStjt&i, 
 το $' άτ εΚτΐϊ&ος κρεμα,τα,ι. 
 
 WW — W — w — 
 
 w w — w |l"" ν — 
 
 «— ιι— 
 
 w ν - wl — w — 
 
 w w — ν Ι— ν — 
 
 wy * ^ΙΙ - ^ ~ 
 ww — vll— w — 
 
 w w — ^11 — ^ — 
 
 ww — wll— w — 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 Ae όφρυε, κνανώτερη δρακόντων t στέφετω απαΧον και 
 ΒροσωΒεί μετώπον. Μελαν όμμα έστω yopyov, κεκε- 
 ράσμενον <ya\rfvy ε\κον το μεν εξ "Αρηοί, — 8ε το της 
 κάΧηε Κυθήρης' ϊνα τ is, μεν, το φο£ήται, δε το κρεμά- 
 ται άπο έΧπιΰος' 
 
 TRANSLATION. 
 
 And let an eye-brow, more lazulous than dragons, encir- 
 cle a soft and dewy forehead. Let his dark eye be stern, 
 mingled with placidity : deriving the former, indeed, from 
 Mars ; but the latter, from the beauteous Venus: so-that 
 any-one, because for-troth of that, may dread, — but, be- 
 cause of this, may hang upon hope. 
 
 glistening purplish yellow of va- 
 rious shades. As, however, the 
 human eye-brows are never of a 
 blue tint by nature, — recourse 
 must be had to some other mean- 
 ing of the word -/.νάνος, — and we 
 find it denoted, — " auburn, dusk, 
 black," as well as, " sky-blue and 
 sea-green j" being (almost) syno- 
 nymous with the Latin adjective 
 " cceruleus." Dragons are gene- 
 rally represented of a light-green 
 color inclining to blue. 
 
 16 — 17. το pev — το ίε, on ac- 
 count indeed of this (or of the for• 
 
 9. unoi'KQv,iender, soft, or, juve- 
 nile : — 3jjee-«5if, roscid, or, dewy; 
 that is, moist with perfume. 
 
 11. xvavurepvi tyxxovruv, literal- 
 ly, more cerulean (or rather, more 
 cyanean) than dragons. The Cfj- 
 anus, from which the color called 
 cyanean, by the Greeks, took its 
 name, was a blue flower, by some 
 said to be the corn-flower; but by 
 others, the bottle-flower. There 
 was likewise a stone named Cya- 
 nus, which the moderns term La- 
 zulus. It is of a fine rich blue, 
 veined with white, and reflects a 
 
ΤΗΙΟΤ ΜΕΛΗ. XXIX. 18. 77 
 
 18 
 19 
 20 
 2\ 
 22 
 28 
 24 
 25 
 26 
 
 'Ροί/ν^ν 8\ όποια, μηΚον 9 
 %νοΐψ ποίει πα,ρείψ' 
 ερύθημα, $ 9 ως ο%ν 9 άι8οΰς 9 
 8ννα,σα,ι 9 βα,λεΐν ποίησαν. 
 Το 8ε χείλος, ουκ ετ οΐ8α, 9 
 τίνι [λοι τρόπω ποιήσεις* 
 ά,παλον, γέμ,ον τ ε ϊίειθους. 
 Το 8ε πα,ν 9 6 κψος ά,υτος 
 εγβτω λα,Χών σιωπτ}. 
 
 SS W — \S — W — ν> 
 \S >S — ^||— W — « — 
 
 ν ν> — ν||— w — — 
 
 W V/ — Ν^ — \»/ — ν^ 
 
 \>ν/ — ^/ΓΙ— ο — ν 
 ν ο — wl — W — — 
 
 -"- -Β— - 
 
 ν* w ■» ν||"* W — W 
 
 WW — V — W — — 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 Ae ttoUl, ρόΒινην οποία μή\ον, γνό'ίην παρείην δε ποι- 
 ησον ερύθημα aiBovs d>s αν δννασαι βαΚειν. Ae ro %et- 
 \ο$. ουκ oiSa ίτι } τίνι τρόπω ποιήσεις μον απάΧον, re 
 ηέμον Heidovs. Ae το παν 9 6 αντο? κήρο? έχβτω σιώπχ) 
 λάλων. 
 
 TRANSLATION. 
 And make, roseate as an apple, his downy cheek : — and 
 make it throw-forth the blush of modesty, as much as ever 
 thou art able. 
 
 But as to his lip, I know not yet, in what manner thou 
 shalt do it for me : soft, and full of Persuasion. And this 
 for all, let the very wax be in silence speaking. 
 
 mer), but on account of that (or of 
 the latter). In either verse, το is 
 the accusative case after ha. un- 
 derstood. 
 
 18. οποία μήλον, like an apple : 
 now it is well known that μνλον, 
 in Greek, and " pomum" in La- 
 tin, may signify not only an ap- 
 ple, — but any fruit resembling an 
 apple; hence Barnes and his fol- 
 lowers contend that ' malum cy- 
 ddnium,' a quiddany or quince, is 
 the fruit Anacreon here means ; 
 and others again say, a peach, or 
 a nectarine j but I see no reason 
 
 for either of those acceptations, 
 because many sorts of apples are 
 when ripe, more or less of a fine 
 rosy red color as to the rind. 
 
 20. For ως αν, Barnes proposed 
 οσσον. 
 
 21. Most copies have, δζ^ασα» 
 βαλεΐν, ποίησυν — thou art able to 
 have thrown: but de Pauw, by al- 
 tering the place of the comma, al- 
 tered the sense to, " make it [the 
 cheek] throw out the blush." 
 
 25. το ie %ai, and for all. 
 
 26. Ιχ€τω λαλώ» c\uifn, literal- 
 ly, hold speaking in silence, in o- 
 
78 χχιχ. 27. Ανακρέοντος 
 
 27 
 28 
 29 
 30 
 31 
 32 
 33 
 
 Μετο\ <5έ πρόσωπον έστω, 
 το δ* Άδώνιδος παρελθόν, 
 ελεφά,ντινος τράχηλος. 
 Μεταμά,ζιον 8ε πάει, 
 διδΰ^ν,ς r ε %εΊρας Έρμον, 
 Τίολυδευκέος δε /Μηρούς, 
 ΑιονυσΊψ δε νηδύν. 
 
 ν \j — ν 
 
 V/ Ν^ — W»J 
 
 \s w — wl 
 
 ν 1/ - wl 
 w ν- w| 
 
 ww-wl 
 
 v^ — — 
 W — — 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 Δε μίτα πρόσωπον, Be παρήΧθον το ΑΒώνι,Βος, τραγή- 
 Xos έστω e\e(pavTivos. Ae ποίζι μεταμάζιον, τβ ΒίΒυμαί 
 γείρα? "Ερμου, Be μήρουί IIoXvBevfceot, Be Αιοννσιην 
 νήΒυν. 
 
 TRANSLATION. 
 
 And behind a countenance, and surpassing Adonis's, let 
 the neck be ivory. And make his breast, — and the two 
 hands of Mercury — and the thighs of Pollux — and a Di- 
 onysian belly 
 
 ther words, let the wax appear to 
 the eye to be speaking, though ac- 
 tually it be silent to the ear. Here 
 the verb Έχω is usurped in a neu- 
 ter sense, and has therefore the 
 same case after as before it : thus 
 it was usual to say, — ί\ω ήσυχος, 
 I hold quiet or I am (or keep) still. 
 28. The F, in this verse seems 
 not to be put connectively, — but 
 rather, affirmatively; with nearly 
 the signification, too, of γαρ, for. 
 Barnes here edited, τον Άδάνάος 
 •τταρελθω*, — with reference to τρά- 
 χηλός, badly. Most others give in 
 the end of the verse, παρλθοι», J 
 have omitted or passed by, — which 
 is little short of nonsense, unless 
 Anacreon had in some other Ode 
 (previously) instructed the same 
 painter to paint Adonis, and had 
 forgotten the ivory neck. Some, 
 
 indeed, render τταρίλΟο*, I forget, 
 or, I have forgotten ; but still the 
 meaning is lame. If παρηλβον be 
 the true lection, I should trans- 
 late it, (( I postfer or J hold in less 
 esteem," that is, " I consider A d6- 
 nis's countenance to be less beauti- 
 ful than Bathyllus's." 
 
 30. (Λίτχμάζιο», the breast or bo- 
 som, — namely, that part where the 
 two nipples are situate. With the 
 Ionians, the preposition /χιτα is, 
 frequently, put for πρό?. 
 
 33. Διονύση* »]5u», a Dionysian 
 belly, that is, a belly like Bacchus' s : 
 but it must be remembered how- 
 ever that the ancients represent- 
 ed Bacchus as a second Cupid, — 
 young and beauteous, and of an- 
 gelic form : not that fat, beastly, 
 big-paunched, ugly urchin, that 
 the moderns figure him. 
 
ΤΗΙΟΤ ΜΕΛΗ. XXIX. 34. 
 
 7^ 
 
 34 
 35 
 36 
 37 
 38 
 39 
 40 
 
 'Απαλών 8 ΰπερΰε [νηρών, 
 μ,ηρών το πυρ εχόντων, 
 ο\φεΚη ποίησον άι$ώ 9 
 Πα,φίψ %έλουο-α,ν ή8η. 
 Φθονερην έχεις $ε τεχνψ, 
 οτι μλ} το\ νώτα, δεΐξα,ι 
 8ύνα,ο~α,ι' τα <Γ ην ά,μείνω. 
 
 yj w — ν/ 
 
 — ν 
 
 W ν/ — W 
 
 ^ W — ν 
 
 W> W — ν 
 
 w «^ — W 
 
 W — W 
 
 — W — — 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 Ae v7T€p06 άιταλων μήρων, μηρών εχόντων το ττνρ> πόί- 
 ήσον άψέλη αίδω, ήδη ^έΧονσαν Τίάφιην. 'E^ets Be φθό- 
 νερην τέχνην, οτι, μη Ζύνασαυ Ββίξαί τα νώτα' Be τα ην 
 α μείνω. 
 
 TRANSLATION. 
 
 And above his soft thighs, thighs possessing fire, make his 
 naked pudence — already lusting P£phia. Thou hast, how- 
 ever, a blameful art, that thou canst not show the hinder- 
 parts, — for they were exquisite. 
 
 again, on the other, it should be 
 equally free, indeed, from the im- 
 putation of mock-modesty , and of 
 pseudo-delicacy. 
 
 37. Ilaipiijv, Paphia, a surname 
 
 35. For /x»jpw> here, some MSS. 
 and editions, the better to serve 
 the metre, have /χαλιρορ, burning, 
 destructive, pernicious, but unne- 
 cessarily, — since the first sylla- 
 ble of ρτ,ρω* is equivalent to two 
 short syllables, — as although the 
 word were written /xnpw». 
 
 36. atptXv, simple or plain,— al- 
 so, bare or uncovered. In paint- 
 ing and in sculpture it has never 
 been thought indecent to repre- 
 sent boys naked, nor yet indeed 
 is it thought immodest, even in 
 females, to look upon statues or 
 pictures wherein nothing is con- 
 cealed, and yet nothing offensive 
 or disgusting displayed. There 
 is a medium, nevertheless, in all 
 things, — and whilst, on the one 
 hand, modesty should, never, de- 
 generate into shamelessness, — so 
 
 of Venus, because worshipped at 
 Paphos. By Paphia, here, may 
 be understood venery in general, 
 rather than Venus personally. 
 
 39. τα νώτα, the back, or rather, 
 the hinder-parts : for, νωτος in the 
 singular number means, the back 
 or whole dorsal, and is of the mas- 
 culine gender ; but by νώτα in the 
 plural number, and of the neuter 
 gender, are meant, the hind-parts 
 collectively ; as, the shoulders, the 
 loins, the buttocks, — and even, the 
 thighs, hams, and calves, so far as 
 respects the aspect, the opposite 
 to front. 
 
 40. ά/Αίί»«, better, — handsomer* 
 
80 χχιχ, 4ΐ. Ανακρέοντος 
 
 41 
 42 
 43 
 44 
 45 
 46 
 
 Τ/ μ,ε δει πόδας διδά,σκειν ; 
 Αά§ε μισθον οσσον ε fay ς* 
 τον 'Απόλλωνα δε τούτον 
 κσ,θελών, ποιεί Βοίθυλλον. 
 Ή ν δ' ες Σάρον ποτ ελθτ}ς 9 
 γράφε Φοίβο ν εκ Βαθύλλου. 
 
 w ν — ^|Ι~* ** — 
 V/ SJ — wll — \J — 
 
 w ν/ > ""ΙΙ*^ ν ~" 
 
 - - i-- 
 
 s/ w — wll— w — 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 
 TV δεί- μ -e ΒίΒάσκ€ίν ttoBcls ; Αά§€ μίσθον οσσον efcyr 
 
 δβ, κάθβλων τον τούτον ΑποΧλώνα, ποίβι ΒαθύΧλον. 
 
 Ae ην πότβ e\0rjs e? Ζάμον, ηράφε Φοί§ον εκ ΒαθύΧλον. 
 
 TRANSLATION. 
 
 What occasion -is- there for me to give thee instructions as 
 to the feet ? 
 
 Receive recompense, how-much-so-ever thou may say : 
 and having-plucked-down this Apollo, make-thou Bathyl- 
 lus instead. And if ever-that thou come to Samos, paint 
 Apollo from-after Bathyllus. 
 42. /Λίσθον, hire, wages, fee, re- 
 
 ward: — οσσον «ίττ^ς, as much ever 
 as thou mayst have said or named; 
 that is, as much as ever thou likest 
 to say or to ask for. 
 
 43. top Απόλλωνα £s τούτον, but 
 this Apollo, — pointingly to some 
 picture of Apollo in view. --To 
 do away with the Ionic minor in 
 the first foot of this verse, some 
 critics have substituted, τό* Έκ-η- 
 ζόλον, the far-darter, in lieu of τον 
 Απόλλωνα, — but with less emen- 
 dation than innovation. 
 
 44. καθελωι/, pulling (or having- 
 pulled) down ; that is, having taken 
 away .• — Wui, make, or rather, set 
 up or erect. 
 
 45. e'f Σάρον, unto Samos, — an 
 island in the iEgean sea,— on the 
 
 coast of Asia Minor. This island 
 was in the most flourishing con- 
 dition under Polycrates, who had 
 a very strong partiality for Ana- 
 creon. Bathyllus, likewise, was a 
 Samian, — and equally beloved by 
 Polycrates as by Anacreon, with- 
 out any jealousy whatever on the 
 part— "either of the one, or of the 
 other; a circumstance which goes 
 a very considerable length, to in- 
 duce any unbiassed mind, indeed, 
 to infer, that the admiration and 
 affection both of Polycrates and of 
 the poet, for this youth, were in- 
 nocent, and not infamous. Some, 
 however, there are, who invaria- 
 bly look upon the conduct of o- 
 thers with a jealous eye and con- 
 demning mind. 
 
ΤΗΙΟΤΜΕΛΗ. XXX. 1. 
 
 81 
 
 ϊ2ΔΗ ν Λ'. ΈιςΈραπ*. 
 ΆΙ Μοΰσα,ι τον'Έ/ιωτα 
 
 τω Κάλλει πα,ρέδωκα,ν. 
 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 r Ai Μούσας Ζησάσαι, τον Ερώτα στεφανοίσι, τταρζ- 
 δώκαν τω ΚάΧλ€ί. 
 
 TRANSLATION. 
 
 ODE XXX. On Cupid. 
 
 The Muses, having-bound Cupid with garlands, deli- 
 vered him up to Beauty. 
 
 1. an Μονσαι, the Muses, — nine 
 in number, sister Goddesses pre- 
 siding• over music, poetry, paint- 
 ing, dancing, — and all the liberal 
 arts. They were, by some, called 
 the daughters of Jupiter, and of 
 Mnemosyne, — but, by others, of 
 Pierus and Antiope. Mount Pie- 
 rus is reported to have been their 
 birth-place. Their names were, 
 Clio, Enterpe, Thalia, Melpome- 
 ne, Terpsichore, Erato, Polyhym- 
 nia, Calliope, and Urania. They 
 were always depicted young, and 
 graceful, and beauteous, and mo- 
 dest; sometimes with wings; but 
 oftener— without these appenda- 
 ges. They were worshipped for 
 many ages in all parts of Greece; 
 and in Italy for a long time they 
 had many devotees. — The me- 
 tre of this Ode is Dactylic trime- 
 ter, — by some denominated Ca- 
 talectic Dimeter Choriambic In- 
 te'rposite, — and by others, Phere- 
 cratic or Glyconic. Each verse 
 consists of a dactyl e between two 
 
 spondees: but the last foot, — al- 
 though counting for a spondee, 
 may be a trochee ; and in lieu of 
 the spondee, in the first foot, ei- 
 ther a trochee or an anapaest (and 
 more rarely, an iambus,) may be 
 admitted. But the several vari- 
 eties of this metre, are not, here, 
 introduced. If we scan the Ode 
 as choriambic, the 1st foot (or ra- 
 ther half foot) of each verse will 
 be a spondee ; the second foot, a 
 choriambus; and then at the end 
 there is found a catalectic sylla- 
 ble. This species of verse is pro- 
 duced by changing into a trochee 
 the iambus in the second foot of 
 the common Anacreontic metre. 
 3. τω Κάλλίΐ, to Beauty or Pul- 
 chritude : — here beauty is perso- 
 nified, by a liberty which the po- 
 ets claimed for themselves : — for 
 it does not appear that there was 
 any deity or other imaginary be- 
 ing of this name — regularly ac- 
 knowledged amongst the Greeks 
 and Romans. 
 
82 
 
 χχχ. 4. Ανακρέοντος 
 
 Και νυν η Κυθερεια 
 ζητεί, λύτρα, φέρουσα, 
 λύσασθαι τον'Έρωτα. 
 Καν λυ<ΓΎ] Si τις αυτόν, 
 ουκ εξεισι, μενεΐ Si' 
 8ουλεύειν 8ε8ί8ακται. 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 Και νυν ή Κυθερεια φέρουσα Χύτρα ζήτεν Χυσάσθαι τον 
 Ερώτα, Δε και έαν tls Χύστ) αύτον, ουκ εξείσι,, δε μέ- 
 νει' ΒεδιΒάκται ΒουΧεύειν. 
 
 TRANSLATION. 
 
 And now Venus, bearing ransoms, is-seeking to release 
 Cupid. But even if any one were to release him, he will 
 not go-away, — but will stay : he has learnt to be a slave. 
 
 Grammar, — from the MS. of his 
 deceased brother, — page 95, that 
 "The poets, sometimes, use e^* 
 
 7. av λυσ -n, should release or set 
 free, should emancipate. 
 
 8. ουκ e£(KTi, he goeth not away, 
 or, he will not go-away. Since the 
 preterites, and aorists, of several 
 verbs have a kind of present sig- 
 nification, so t*f*», of the present 
 tense, has more frequently a fu- 
 ture than strictly present mean- 
 ing, I am going or am about to go 
 away, or rather, I will go-away : in 
 like manner e|«/*», its compound, 
 too, is employed. Bosworth very 
 justly remarks, in a note on *~^»> 
 " έο vel ibo/' in his Eton Greek 
 
 in the sense of the present tense, 
 but orators and Attic writers al- 
 ways in the future, — as εΓ^ι xocl 
 uyyt\u, I will go and tell." 
 
 9. bovXivnv, to slave, or, to be in 
 thraldom: — ^δακτα», he has been 
 taught, or, he hath learnt : in the 
 active voice, βάσκοι signifies, 1 
 teach: so, in the middle voice, h- 
 $άσκομα\ means, I teach myself or 
 for myself, — hut, in the passive 
 voice, I am taught, or, I learn. 
 
ΤΗΙΟΤ ΜΕΛΗ. XXXI. 1, 
 
 83 
 
 Ϊ2ΔΙΤ ΛΑ'. Έΐ£ β ΕαντΑ. 
 "ΑΦΕΣ μ,ε, τους §εούς, σοι 
 πιεϊν, τζιεΊν άμυστί* 
 §ελω, §έλω puvyvcLi. 
 Έ/Μχ,ίνετ Άλκμα,ιων τ ε 
 %ω λευκο'πους ' Ό ζέστης, 
 το\ς [λητερ&ς κτ&νοντες. 
 
 \J — \s — 
 
 ι 
 
 "ir- 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 Άφεε με, τουε ^reov s, ττίειν σοι, ττίειν αμύστί' ^ελω, 
 *&έ\ω μανήναι. Τε ΑΚκμαίων εμαίνετο, και ο λευκά* 
 παύε Ορέστη?, κτανόντεε ταε μήτεραε* 
 
 TRANSLATION. 
 
 GDE XXXI. On Himself. 
 
 Allow me, by the Gods, to drink to thee, to drink un- 
 stintedly : I wish, I wish to rave. 
 
 Both did Alcmaeon rave, and the white-footed Orestes, 
 having-killed their mothers. 
 
 Ι. α,φΐς pie, τους Ssoi/q , do permit 
 me, by the Gods; here understand 
 hi or μα., or ιπόι/Λυμα ,1 conjure or I 
 bind thee by oath. Stephens con- 
 tended for rbu &ebv, emphatically, 
 and with reference to Bacchus the 
 God of wine, — in place of robs &e- 
 ovs, the Gods generally or jointly. 
 Scaliger's reading is α<ρ*ς jus, προς 
 νζωι,σο%, — and Barnes' s, α,φίς,μα. 
 τους Siovs, με — Some construe σο) 
 in the end of the verse with &/>es, 
 contending that the poet uses a- 
 ψες σο\ here, facetiously, for αψες 
 σν. Others again, say, that, σο) 
 irmv and σοι προπίνει* have nearly 
 one and the same meaning, — the 
 latter being only more formal. 
 
 2. wti<V α,μνστ), to drink drain- 
 tnyly. At verse 2, of Ode XXI, 
 above, mention was made of the 
 origin of this expression. 
 
 4. ipotivsr Άλμα,ίων τε, Alcmcson 
 raved too or was mad. This per- 
 son was son of Amphiaraus, and, 
 on the death of his father, mur- 
 dered his mother Euriphyle: and 
 was afterwards persecuted by the 
 Furies. 
 
 5. ό λίνκόπονς Όρεστης, Orestes, 
 the white-footed. This man was a 
 son of king Agamemnon; and on 
 the death of his father, he mur- 
 dered his mother Clytemnestra : 
 and was afterwards tormented of 
 the Furies. He was called white* 
 
84 χχχι. 7. Ανακρέοντος 
 
 7 
 8 
 9 
 10 
 11 
 12 
 13 
 14 
 15 
 
 Έγω Si μ,ηδένα, κτά,ς, 
 πιών S* ερυθρον όΐνον, 
 &iXeo, §έλω (λα,νην&ι. 
 Έμ,α,ίνεΦ Ηρακλής πριν 
 δεινην κλονών φα,ρέτρψ, 
 καΑ τόξον Ίφίτειον. 
 Έμα,ίνετο πριν 'Αίας, 
 (&ετ &σπί$ος κρα,ΰα,Ίνων 
 την "Εκτορος μ,ά,γρ,ιρ&ν. 
 
 ^ — w "•||ν — — 
 
 \s — ν* — Ι|ν^ — ]ν 
 
 ν •* ν —11'-' — ^ 
 
 "Mr4 
 --hi" -Ι- 
 
 — — ν — Π»-' — ι*^ 
 ν — L/ —jl^ Η"• 
 
 " -f "II" Τ 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 Ae εγω κτα* μήδενα, Se πίων ερυθρον οίνον, ^ελω, ^έ\ω 
 μανήναι. "ΗρακΧη? πριν εμαίνετο, κΧόνων Ζείνην φα- 
 ρετρην, και Ιφιτείον τόξον. Alas πριν εμαίνετο, κρα- 
 δαινων μέτα aairihos την μαγαΙραν"Εκτορο$. 
 TRANSLATION. 
 
 Now I, having-killed no-one, but drinking ruddy wine, do 
 wish, do wish to rave. 
 
 Hercules did formerly rave, brandishing his dread qui- 
 ver and Iphitean bow. Ajax did formerly rave, flourish- 
 ing together with his shield the sword of Hector. 
 
 brother to Teucer. Having con- 
 
 footed, because in his madness he 
 wandered with bare-feet,— which , 
 it has been said, were of transcen• 
 dant- whiteness. For χω, in this 
 verse, some read χ S, but badly. 
 
 10. EjLtaiW Ηρακλής πρ\ν, Hor- 
 cules was aforetime insane. This 
 hero had in his life-time two fits 
 of madness; in the first of which 
 he killed his wife Megara and his 
 three children : — and in the se- 
 cond fit, he murdered Iphitus, — a 
 celebrated archer, son of Eurytus 
 king of (Echalia, — and took from 
 him his bow. 
 
 IS. Ifxalrcro itpiv Άία?, Ajax ere 
 while was mad. This hero was son 
 of Telamon king of Salamis, and 
 
 tended with Ulysses for the arms 
 of Achilles — but without obtain- 
 ing them, he became deranged in 
 his mind, — and committed many 
 excesses. He afterwards killed 
 himself — and was changed into a 
 flower, called the Iris or Ameri- 
 can Flag, but by the ancients de- 
 nominated Hyacinth. 
 
 15. την "Έκτορος μάχαιρα», Hec- 
 tor's falchion; literally, the cutlass 
 of Hector, — with allusion, indeed, 
 to the exchange of arms between 
 Hector and Telemonian Ajax, at 
 their parting, after a severe con- 
 flict — in which neither of the two 
 had decidedly the advantage. 
 
ΤΗΙΟΤ ΜΕΛΗ. XXXI. 16. 85 
 
 16 
 17 
 18 
 19 
 
 Έγώ δ* ε%ων κύπέΚΚον, 
 και στέμμα τούτο γ/χ,ίτα,ις, 
 ου τόξον, ου μά'χα,ιρα,ν, 
 §έλω, §ελω μανή νοώ. 
 
 — ν» — ν/ — Κ> 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 Ae €γω kyoav κνττέΧλον, και τούτο στέμμα γαίταις, ου 
 τόξον, ου μαγηίραν, ^τέ\ω 9 ^τέ\ω μανήναι. 
 
 TRANSLATION. 
 
 But I, holding a cup, and having this chapkt in my locks, 
 not a bow, nor a sword, do wish, do wish to rave. 
 
 16. εγ», h — emphatically, and 
 in contrast with Alcmaeon, Ores- 
 tee, Hercules, and Ajax, who had 
 each in his time been insane. 
 
 17. preppx. τούτο, this crown or 
 
 garland: for it was customary at 
 
 banquets, and at feasts, to wear 
 crowns made of flowers and vari- 
 ous sorts of leaves, as well for or- 
 nament, as to keep the head cool. 
 19. $ίλω } Βελω puvrivai, I wish, 
 I wish to rave or to play the fool 
 
86 χχχιι. ι. Ανακρέοντος 
 
 ΪΪΔΗ' ΛΒ'. 'Εις τους 'Εαυτού "Ερωτας. 
 
 1 ΈΙ φύλλα πάντα, δένδρων 
 
 % επιστασαι κατειπεΐν, 
 
 3 ει ήμ,αθώδες έυρεΐν 
 
 4 το της όλης θαλάσσης, 
 
 5 <τε των εμ,ών ερώτων 
 
 6 μ,όνον ποιώ λο^ιστην. 
 
 7 ΤΙρώτον μεν εξ Αθηνών 
 
 8 έρωτας εικοσιν %ες, 
 
 9 χα) πεντεκαίδεκ άλλους. 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 Ει επίστασαι κατείττειν πάντα φύΧΚα δένδρων, ει έν- 
 ρειν το ημαθώδε? τη$ ο\η? ^αλασσ^ί, ιτοίω σε μόνον 
 \ο<γίστην των έμων ερώτων. Πρώτον μεν εξ Αθηνών 
 ^€5 είκοσι ερώτα?, και πεντεκαίδεκα aWovs. 
 
 TRANSLATION. 
 
 ODE ΧΧΧΙΙ. On his Own Amours. 
 
 If-that thou art-skilled to count all the leaves of the 
 trees, if to reckon the sand of the whole sea, I constitute 
 thee alone the computer of my amours. First indeed from 
 Athens put-down twenty gallantries, and fifteen besides. 
 
 3 — 4. γ,μ.α$ωο\ς ευρεΐντο της ολ-ης 
 ^χκάσ-στ,ς, to explore the sand, that 
 of the entire sea: here, νροιθωδίς is 
 used substantively, — and means 
 how much of sands, or rather, how 
 many (/rains of sand, may be con- 
 tained in that of the whole ocean. 
 Several have found fault with the 
 hiatus between the two syllables 
 forming the first foot— but unne- 
 cessarily. Barnes from the Va- 
 tican MS. indeed edited χν^χτω- 
 ϋβς, in place of ημα,θωΐϊις,—ζηά in 
 
 some copies we find, κυμ.α.τ οϊΰχς. 
 Talking hyperbolically, the poet 
 would, no doubt, prefer the sand 
 of the sea, to its waves — as being 
 by far greater in number. 
 
 7. Since Anacreon begins with 
 Athens, it has reasonably enough 
 been surmised, that he wrote this 
 Ode at the time when he was at 
 the court of Hipparchus. 
 
 <). κα* 7Γ£»τεκαιοίκ άλλους, lite- 
 rally, and ff teen others ; a quaint 
 way of expressing,/»!^ and thirty ! 
 
ΤΗΙΟΤ ΜΕΛΗ. XXXII. 10. 87 
 
 10 
 11 
 12 
 13 
 14 
 15 
 16 
 17 
 18 
 
 Έπειτα, <$' εκ Κορίνθου 
 %ες όρμ,α,θους ερώτων' 
 Άγρίης <γάρ εστίν, 
 οίνου καλά/ γυναίκες* 
 Τίθει Si Αεσξ'ιους pot, 
 και μέχρι των 'Ιώνων, 
 κοά Κα,ρίης, '*Ρο$ου τε, 
 δισ%ιλ!ους έρωτας. 
 Τ/ φγς ; Άε / κ έρωτες ; 
 
 ^s 
 
 — \\s 
 
 - 
 
 1- 
 
 - 
 
 - 
 
 ν-> 
 
 -h 
 
 - 
 
 1" 
 
 - 
 
 - 
 
 W 
 
 _ i y 
 
 - 
 
 h 
 
 - 
 
 w 
 
 «U» 
 
 -ί* 
 
 - 
 
 h 
 
 - 
 
 v/ 
 
 >»/ 
 
 Φ 
 
 - 
 
 1" 
 
 - 
 
 - 
 
 - 
 
 1- 
 
 - 
 
 h 
 
 - 
 
 - 
 
 - 
 
 -ι- 
 
 - 
 
 h 
 
 - 
 
 ^ 
 
 : 
 
 
 : 
 
 1- 
 
 ~ 
 
 
 THE ORDER, AND ENGLISH ACCENTUATION, 
 ide €7Γ€ΐτα etc Κορίνθου ^es ορμαθου? ερώτων yap έσ- 
 τι Αγαίης, οπού yvvaUes κάλαί. Ae τίθει AeaGiovs 
 μοι, και μέχρι των Ιώνων •, και Κάριηε, re 'Ρόδου, Βισ- 
 χίΧιουε ερώταί. Τι <pr\$ ; Και ερώτ69 άβι ; 
 TRANSLATION. 
 
 And then from Corinth put-down catalogues of loves : 
 for it is of Achaia, where the women are beauteous. 
 
 And put-down the Lesbian-ones forme, — and as-far-as 
 the Ionians, and Caria, and Rhodes, — two-thousand sweet- 
 
 hearts.— What sajst-thou ? 
 
 1 1. αρραγούς tfvTut, strings ofa- 
 mours, — meaning, many series, or, 
 long lists of them. Hence the old 
 adage — Όν παντός ανδρός uc Kofi*- 
 θον ιστίν ο πλονς, the voyage to Co- 
 rinth is not every mansj or, as the 
 Romans said, " non cuivis homi- 
 ni contingit adire Corinthum." 
 
 13. ottou y.aXat γυναίκες, — where 
 fair women, that is, where the wo- 
 men are of remarkable beauty, ge- 
 nerally. Homer, too, designates 
 Achaia, καλλιγίνν), fair womaned, 
 or, possessing handsome women. 
 
 14. τίθε» <$ϊ Λίο-ζΙονς μοι, and put 
 down my Lesbian loves for me. — 
 Lesbos was a large island in the 
 
 Even loves without-end ? 
 
 iEgean sea, celebrated for its mu- 
 sic and beautiful women. 
 
 16. The Vatican MS. has, xul 
 Kapiriv, 'Po^ov re. Caria was a re- 
 gion of Asia Minor, to the south 
 of Ionia, — and the east and north 
 of the Icarian sea. Rhodes was 
 a large island in the Carpathian, 
 sea, south of Caria. 
 
 18. Of the latter part, indeed, 
 of this verse, numerous readings 
 occur: thus, au κυρωθείς• — as) ah- 
 ρωΒίς ', — cu) γ' Έρωτες *, — ToVot>$ e- 
 ρωτας. The calculator, astonish- 
 ed at the number already decla- 
 red, speaks expressive of that as- 
 tonishment. I follow Barnes. 
 
88 χχχιι. 19. Ανακρέοντος 
 
 19 
 
 20 
 21 
 22 
 23 
 24 
 25 
 26 
 27 
 
 'Ούτω Σν/)β!>ί ελεξα, 
 όυτω πόθους KavmSov, 
 ου τής α/πα,ντ εχούο-ης 
 Κρήτης, ότου πόλεσσιν 
 "Ερως έποργιάζει. 
 Ύί σοι θέλεις αριθμώ 
 τους έκτος άδ Γοι,δείρων, 
 των Βα,κτρίων τε κ Ίν8ών, 
 ψυχής ερής έρωτας ; 
 
 — — ν — ν — \\J 
 
 ~ΜΜ- 
 
 — — w — Ν*•' — |ν 
 
 -MM- 
 
 w — lw —11^ —Ι— 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 Ούπω έλέξα %ύρου? πόθου?, ούπω Κανώ£ου, ου Κρή- 
 τη? τη? βχούση? απάντα, οπού Έρω? ζπορηιαζζΐ πο- 
 \ίσσι. Ύι *&e\ei? αριθμώ σοι του? αυ έκτο? Γαοβίρων, 
 των Βάκτριων τε, και ΊνΒων, ερώτα? έμη? ψύχη? ; 
 TRANSLATION. 
 
 Not-as-yet have I mentioned my Syrian affections, not- 
 as-yet those at Canopus, nor in Crete that possessor of all- 
 things, where Cupid holds-orgies in the cities. Why wilt 
 thou, that I number to thee those, again, beyond Gadira ; 
 of the Bactrians also, and Indians, — loves of my soul ? 
 
 always voluptuous and dissolute. 
 25. «rVro; Tet&ilfuv, beyond Gadi- 
 ra, — called, also, in former times, 
 Gad'cs or Gadis, but now Cadiz, a 
 sea-port of Spain. The small isle 
 of Lion near to this port was like- 
 wise termed Gadira. 
 
 20• ποίους Κανω^ον, my desires 
 or passions at Canopus; here un- 
 derstand s«, of, at, or from. Cano- 
 pus was a town of Egypt (about 
 thirteen miles from Alexandria,) 
 founded by the Spartans : it was 
 named after the pilot of Menela- 
 us's ship, who was buried there. 
 
 21 — 22. ττϊς atravr ίγρΰσης Κρή- 
 της, of (or in) Crete, possessing all 
 things,— that is, embracing within 
 itself every necessary and luxury of 
 life. This island, now called Can- 
 dia, is one of the largest and most 
 fertile in the Mediterranean. It 
 was once famous for its hundred 
 cities, — but its inhabitants were 
 
 26. The Bactrians and Indians 
 were (like the Syrians, mention- 
 ed in verse 19, above,) separate 
 nations of Asia. But it is more 
 than probable that Anacreon (far 
 travelled as he was), never visit- 
 ed many of the places he speaks 
 of : but cites them, because they 
 were mostly all notorious for las- 
 civiousness and incontinence. 
 
ΤΗΙΟΤ ΜΕΛΗ. XXXIII. 1. 89 
 
 ΏΔΗ ν ΛΓ'. Έις Χελιδόνα 
 
 ΣΤ Ν //^ν, Φίλη χελιδών, 
 ετησιη μ,ολουσν,, 
 %ερει πλέκεις κα,λιην, 
 γβία,ώνι ί' εις άφαντος, 
 η Νεΐλον η V/ Μεμφιν. 
 "Ερως 8' άεϊ πλέκει μ,ευ 
 εν κα,ρίίτι κ&λιήν. 
 
 - ^ - 
 
 — "χ* — 
 
 W — ^ - — 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 Hv μεν, φίλη χεΧίΒων, μοΧούσα ετησιη, πλέκει? κα- 
 Χίην *&ep€L y — Be αφάντο? χειμώνο €L9 η εττι ΝείΧον η 
 Μεμφιν. Δε Έρωε άει ττΧεκει κάλίην εν κάρΒνη μεν. 
 
 TRANSLATION. 
 
 ODE XXXIII. On a Swallow. 
 
 Thou, indeed, dear Swallow, coming yearly, construct- 
 est thy nest in summer, — and invisible in winter thou re- 
 pairest either to the Nile or to Memphis. But Love is 
 ever constructing his nest in my heart. 
 
 3. srX&tsi? καλιηρ, thou dost weave 
 or plait, — that is, thou buildest or 
 constructest. The swallow's nest 
 is curiously wrought of mud with 
 a small hole to enter at; and, is in 
 most instances, stuck against the 
 ceilings and walls of out-houses, 
 and churches ; else formed in hol- 
 low trees, and the clefts of rocks 
 and clay-banks. 
 
 4. χιψωη $ i~q άφαντος, literal- 
 ly, but in winter thou goest invisi- 
 ble. Swallows make their appear- 
 ance regularly every spring, and 
 disappear again about autumn:— 
 but, whether they migrate to any 
 warmer climate, to pass the win- 
 
 ter season, or hide themselves in 
 holes and sleep away the time, is 
 not altogether certain. 
 
 5. η ΝεΓλον rj Vt Msptyw, either 
 to the Nile else to Memphis. The 
 Nile is a great and celebrated ri- 
 ver of Egypt, running from south 
 to north, — and discharging itself, 
 by seven mouths, into the Medi- 
 terranean sea: its head or source 
 has never yet been discovered,— 
 but the cause of its annual inun- 
 dation is now well known. Mem- 
 phis, of which not one vestige re- 
 mains, was a very beautiful city, 
 on the western bank of the Nile, 
 above the Delta. 
 
90 χχχιιι. 8. Ανακρέοντος 
 
 8 
 
 9 
 
 10 
 
 11 
 
 12 
 13 
 
 14| 
 
 *s 
 
 16; 
 
 17, 
 
 ΙΙόθος δ* 6 μεν πτεροϋτα,ι, 
 6 8* ώον εστίν άκρη ν, 
 ο 8* ημίλεπτος η8η. 
 Borj δε ψνετ άιε) 
 κεγ^νότων νεοττών. 
 Ερωτιδείς δε μικρούς, 
 ο 1 μείζονες τρεφουσιν. 
 Ό/ 8ε τρα,φέντες ευβυς 
 τίλιν κύουσιν Άλλους. 
 Ύί μη%ος δΰν γένηται ; 
 
 Ν^ — VS — ||vS — 
 
 <α — %j — llw — 
 j|„ _ 
 
 SS — \J "~||^ "" 
 
 — II- 
 
 w Τ "lh - 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 Je ά πόθος μεν πτερούται, Be 6 εστί άκμην ώον, Be 6 
 ήΒη ήμιλεπτο?. Δε γίνεται άιει βόη κεγτ)νοτων νεότ- 
 των. Δε δι μείζονες τρεφούσι μικρόν» ΕρώτιΒεις. Δε οι 
 τραφίντεί εύθυ: κ,νονσι aWovs πάλιν. Τι μήχοε ουν 
 ηενίγται ; 
 
 TRANSLATION. 
 And one passion indeed is-fledged, and another is yet an 
 egg, and another already half-hatched. And there is for- 
 ever a cry of gaping young-ones. And the greater rear 
 the little Lovelings. And these, being-reared, forthwith 
 produce others again. What remedy then may-there-be ? 
 
 8. woOof, desire or lech, — figura- 
 tively likened to a brood of birds 
 succeeding to other broods, — and 
 again propagating without end. 
 
 11. βον, the cry or outcry, that 
 is, for food, and attention. 
 
 12. ΥΛγχινότνι νιοττων, of gaping 
 young. The habit of gaping for 
 food belongs to all sorts of birds 
 that are reared in the nest. But 
 birds that leave the nest, as soon 
 as hatched, have not this habit — 
 In lieu of Μβττΰ;», several editions 
 have νιοσσαν, — which is the more 
 common, though not Attic, form. 
 
 13. Έρωτιδιΐς. the Lovelings, or, 
 young Cupids, namely, in Cupid's 
 nest, within Anacreon's heart, — a 
 curious and an original idea. 
 
 14. ό» μ,ίίζονίς,Μβ bigger,th&t is, 
 the older ones of the Lovelings, or, 
 of wanton desires. 
 
 17. τί [Α^χος; what remedy? not, 
 as Dacier renders it, what termi- 
 nation or limit ? Baxter's trans- 
 lation is, — " Quid de me net ?" 
 What will become of me ? But he 
 appears to have strayed wide of 
 the meaning; or, his translation 
 is the farthest from literal. 
 
ΤΗΙΟΤ ΜΕΛΗ. XXXIII. 18. 91 
 
 18 
 19 
 
 Όυ yap ο~6ένω τοσούτους 
 "Ερωτας exSorjo-ai. 
 
 THE ORDER, AND ENGLISH ACCENTUATION- 
 Γαρ ου σθβνω 6Κ§οήσαι τοσούτους Ερωτας 
 TRANSLATION. 
 
 For I have not strength to proclaim so many Loves ! 
 
 19. exCovo-eu, to proclaim or call 
 forth, — in the sense of, to enume- 
 rate aloud: this verb seems to be 
 here put for ίξαμΒμΰσοω, but has 
 however, nevertheless, occasion- 
 ed, to commentators, very great 
 trouble. Scaliger conjectured «- 
 νογ,σχι, — having merely changed 
 
 a middle mute into its own slen- 
 der: Brunck congratulated him- 
 self (greatly) on giving ixaoGrjaou, 
 to expel, — and this reading, some 
 few of the learned have adopted. 
 One or two other words (but un- 
 deserving of notice,) have like- 
 wise been offered. 
 
92 χχχιν. ι. Ανακρέοντος 
 
 9 qAR y ΑΔ'. 'Εις Κόρψ. 
 
 ΜΗ' μ,ε φύγτ)ς 6 ρώσοι, 
 τα,ν πολισ,ν εθειροι,ν, 
 μτηΰ οτι σοι πά,ρεστιν 
 άνθος axfACfJov ωρν,ς, 
 τσ,μσ, φίλτρα, δίωξης. 
 Ορο, κάν στεφά,νοισι 
 όπως πρέπει τα, λευκά, 
 ροΊοις κρίνοι, πλα,κέντα,. 
 
 Η 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 Μη <pvyr)9 μ€, δρώσα ταν ττό\ιαν εθβίραν> μή§€, οτι, 
 ακμαίον άνθο$ Spas τταρέστί σοι,, διώξτ)? τα έμα φί\- 
 τρα. "Ορα οπω? και ev στβφανοίσι τα Χβνκα κρίνα πλα- 
 κέντα poBois πρέττβι. 
 
 TRANSLATION. 
 
 ODE XXXIV. On a Girl. 
 Flee me not, seeing my hoary hair, — neither, because 
 the blooming flower of youth is with thee, repel-thou my 
 caresses. Observe how, even in garlands, the white lilies 
 entwined with roses are-becoming ! 
 
 1. μί) μι φνγης, do not avoid (or 
 shun) me: do not flee (or run)from 
 me. The first four versus of this 
 Ode are Choriambic dimeter ca- 
 talectic, — or, they consist, each, 
 of a dactyle followed by two tro- 
 chees: but as the remaining ver- 
 ses of the Ode are not exactly of 
 the same species, the whole may 
 be referred to the head of Antis- 
 pastic Pherecratean, — like Odes 
 xxvii and xxxviii. 
 
 4. ώρας, of youth, — as may ra- 
 tionally be inferred from the con- 
 
 text; for ωρα. hath several mean- 
 ings : as, an hour, a season, time, 
 the spring, youthfulness, beauty. 
 
 5. φίλτρα, love-allurements, — as, 
 smiles, complimentary expressions, 
 caresses, presents, and the like. A 
 lover's cup was, also, termed φίλ- 
 τρο* , with the wine in which were 
 often mixed-up such ingredients 
 as were thought likely to awake 
 the sensitive passion: — hut-yq, re- 
 pel thou, — not merely, refuse or 
 reject, — but repel with scorn, and 
 persecuting indignation. 
 
ΤΗΙΟΤ ΜΕΛΗ. XXXV. 1 
 
 93 
 
 -r 
 
 V» — Iv 
 
 ΏΔΗ Ν ΛΕ\ Έις'Ευρώπψ. 
 
 1 Ό ταύρος οΰτος, ώ παΓ, 
 9, Ζευς μοι δοκεΐ τις είναι' 
 
 3 φέρει γό\ρ άμ,φ) νώτοις 
 
 4 Σιδωνίψ <yvvcuxu. 
 
 5 Τ1ερα, δε τΐόντον έυρύν, 
 
 6 J τέμνει δε κΰμα, γ^λαΐς. 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 
 f O 6vro9 Tavpos, ω τται, δό /cei- μοι eivai tls Zevr — 
 yap φέρει, άμφι νώτοιε ^ιδώνιην γυναίκα. Δε πέρα εύ- 
 ρυν πόντον, Βε τέμνει, κύμα yrfKais. 
 
 TRANSLATION. 
 
 ODE XXXV. On Europa. 
 
 Thus bull, Ο boy, appears to me to be a Jove : for he 
 carries on his back a Sidonian woman. 
 
 And he is-crossing the broad main, — and cleaving the 
 billow with his hoofs. 
 
 1. 5 ταύρος oDtoj, quite literally, 
 the this bull, — referring- to some 
 medal, or picture, in which Jupi- 
 ter was represented carrying Eu- 
 ropa, daughter of Agenor king of 
 Phoenicia, through the sea on his 
 back to the island of Crete. 
 
 2. Ζευς ης, some Jove or other, — 
 or simply, a Jovej for such is the 
 import of t*s, indefinitely. 
 
 3. ccptyi ίίίτοΐί , about (or on) his 
 shoulders or loins, that is, simply, 
 upon his hack. 
 
 4. Σίδωήγ)* γυναίκα, a Sidonian 
 woman, namely, Europa; for some 
 account of whom, see the note on 
 verse 8, below. Here, Sidonian is 
 usurped for Phoenician : the capi- 
 
 tal of the kingdom, for the king- 
 dom itself. Sidon, an ancient city 
 on the eastern coast of the Me- 
 diterranean sea, with a good har- 
 bour, was the capital of the coun- 
 try of Phoenicia, and was distant 
 about fifty miles from Damascus 
 and twenty-four from Tyre. If 
 it be asked, how Anacreonknew 
 the woman to be Sidonian, it may 
 be answered, " that her costume 
 indicated her country." 
 
 5. natrotlvpv», the wide sea, or, 
 the broad main, — with reference 
 to that part of the Mediterranean, 
 which lies to the eastward more im- 
 mediately betwixt Syria and Crete; 
 for, Phoenicia was part of Syria. 
 
94 xxxv. 7. Ανακρέοντος 
 
 7 
 
 8 
 
 9 
 
 10 
 
 Όυκ ά,ν $ε ταύρος όίλλος 
 εξ αγέλης ελασθεϊς 
 έπλευσε την θάλασσαν, 
 ει μη μόνος γ εκείνος. 
 
 S^ —\\SJ — Κ/ 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 Δ e ουκ άλλο* ravpot, εΧάσθβίί βξ όηέΧηε, αν €π\€νσε 
 την θάλασσαν, €(, μη ye eicuvos μόνοε. 
 TRANSLATION. 
 
 But not any -other bull, having-strayed-away from the 
 herd, would-have-sailed the sea ; if not, at-least, he only. 
 
 8. t% άγίλιης lAacrGiij,— literally, 
 having-been-drivenfrom the herd, 
 but, more properly, having-roam- 
 ed-away out of the herd: because, 
 when Jupiter assumed the shape 
 of a bull, he mixed with the herds 
 of Agenor, while Europa and her 
 attendants were gathering flow- 
 ers in the meadow ; then afterthe 
 princess had admired and cares- 
 sed the beautiful animal, and had 
 bravely unwise seated herself on 
 his back, the God in disguise vol- 
 untarily retired— with precipitate 
 steps from the herd, — not driven, 
 unless indeed, by the paramount 
 
 power of love. Hence ίλασ-θικ, in 
 this verse, may perhaps be taken 
 in a neuter, rather than passive, 
 sense, — for example, having par- 
 ted from, or as I have rendered it, 
 having-strayed-away-from. Ste- 
 phens was (decidedly) of opinion 
 that the acceptation is passive, — 
 but Baxter maintains the contra- 
 ry, — and adds that ίλαύνισθα» was 
 by the herdmen applied, in com- 
 mon, unto all cattle that strayed 
 from the pastures, owing to what 
 cause soever. 
 
 10. ϊ» μ-ν μόνος y 6χιΓ»ος, unlesi 
 at-least he (or that-one) alone. 
 
ΤΗΙΟΤ ΜΕΛΗ. XXXVI. 1. 95 
 
 ΏΔΚΤ Ας. 'Εις το Άνειμενως Ζην. 
 
 ΤΓ με τους νόμους διδάσκεις, 
 και ρητόρων άνόνγκας ; 
 Τι Si (tot λόγων τοσούτων, 
 των μηδέν ώφελούντων ; 
 Μάλλον δίδασκε πίνειν 
 άπαλον χοτον Αυαίου' 
 μάλλον δίδασκε παίζε ιν ' 
 ^£τα %ρυσης * Αφροδίτης. 
 
 w — ν - 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 Τι &ι8άχτκ€ΐ? με του? νόμου?, και ανάγκα? ρητόρων; 
 Δε τ* μοι τοσούτων λόγωι/, — των ωψεΧούντων μήΒεν; 
 ΜάΧλον ΒιΒάσκε ττίνειν ατταΧον ττότον Λυαίου' μάΧ- 
 \ον ΒιΒάσκε παίζειν μετά χρύση? Αφροδίτη?. 
 
 TRANSLATION. 
 
 ODE XXXVI. Upon Living Carelessly. 
 
 Why art -thou -teaching me the laws, and subtilities of 
 the logicians ? And what-utility to me of so many argu- 
 ments, — that profit nothing ? 
 
 Rather teach me to drink the mellow beverage of Bac- 
 chus: rather teach me to sport with golden Venus. 
 
 1. τους ιομους, the Zones, — exclu- 
 sively the province of advocates, 
 and of pleaders 
 
 2. και pnropat uviyxas, literally, 
 and the constraints of rhetoricians, 
 that is, the subtilities (or quirks) of 
 the eloquent For, any argument 
 or subtle device of the rhetorici- 
 ans and lawyers was termed ά»ά- 
 yw», — because its inference, whe- 
 ther true or false, was binding or 
 compulsive. Any adept in logic 
 
 will frequently reason in a man- 
 ner so plausible, as almost to per- 
 suade, that truth is falsehood,— 
 and falsehood, truth. 
 
 3. τ» & pot, literally, and what 
 tome: here there is an ellipsis of 
 the verb eort, — and preposition «κ 
 or 0.1:0. Some read τοσούτον. 
 
 4. τω* fj<.r)$ip ώφιλονιται», of those 
 (arguments) profiting nothing. 
 
 6. iroTvr, drink or beverage: this 
 is Scaliger's reading; but several 
 
96 χχχνι. 9. Ανακρέοντος 
 
 9 
 10 
 11 
 12 
 13 
 
 Πολ/αί κά/5αν στέφουν? 
 $ος ΰίωρ, βάΧ όΐνον, ώ ταΓ' 
 την ψυ%ην μου κά,ρωσον. 
 Β/3αχύ μη ζώντος καλύπτεις' 
 ο &ανών ουκ επιθυμεί. 
 
 >»/ w — w — w — — 
 
 w w — — ΙΙ^ ν* — — 
 ww — —Ι *■* ν» — — 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 ΤΙόΧιαι στβφονσί κάραν Bos ΰδωρ 9 βά\€ οίνον, <ύ παν 
 καρώσον την ψύχην μου. Βράγυ κάλυπτες μη ξώντα* 
 6 ^άνων ουκ €7Γίθνμ€ΐ. 
 
 TRANSLATION. 
 
 Hoary-hairs crown my head : — give water, pour wine, Ο 
 servitor: compose my soul. In-a-little-time thou cover- 
 est me no-longer living : the dead-man doth not covet. 
 
 MSS., and so Baxter, have wo /χα, 
 
 which Barnes altered intoww/xa, 
 nor badly, — the verse being then 
 a pure dimeter Ionic a minore. 
 
 9. In this verse I have follow- 
 ed Barnes ; but most MSS. have 
 πολιχι στίφονσι xupctv, — the first 
 syllable of κάραν being lengthen- 
 ed by ectasia. Scaliger edited wo- 
 λ»α* κάρα στίφουσι , grammatical- 
 ly and metrically enough. Daci- 
 er again gave ττολκχν στεψοιτι κά- 
 ρα» — without any stop whatever, 
 at the end of the verse; and cer- 
 tainly this reading is, in point of 
 sense, the best of all, — but des- 
 titute of the support of MSS. 
 
 11. The first foot of this verse 
 is a molossus, equal in time to an 
 antispast, or a choriambus, or an 
 ionic : it is nevertheless seldom, 
 comparatively speaking, that A- 
 
 nacreon begins a verse with this 
 grave and indeed solemn foot. 
 
 12. βραχύ, shortly, or, in a very 
 little time hence: — /*>} ^ιτα, not 
 living, that is, being dead; under- 
 stand, either ψ€, me, else» ^«σττό- 
 T*jr, thy master: in lieu of μη, se- 
 veral MSS. and editions have f*€, 
 contrary to the sense, — for, it is 
 not to be supposed that the poet 
 wished to be buried alive : — κα- 
 λντττας, thou coverest, the present 
 tense for the future, with admi- 
 rable beauty, — bringing the act 
 home to the mind : and yet ma- 
 ny critics, indeed, have censured 
 this reading, and have most stre- 
 nuously defended καλιίψίί?. 
 
 13. ό §οι*ων Όυ*. ΊπώυμίΤ, literal- 
 ly, the dead-man desires not; that 
 is, a dead man longs not for wine, 
 nor yet for aught else. 
 
ΤΗΙΟΤ ΜΕΛΗ. XXXVII. 1. 97 
 
 ΏΔΗ λ ΛΖ'. Έιςτο'Εα,ρ 
 
 ιΊΔΕ πώς, εα,ρος φα,νέντος, 
 {Χάριτες ρόδα, βρύουσιν. 
 *\δε πώς κΰμ,α, θαλάσσης 
 απαλύνεται γαλήνη. 
 *Ιδε πώς νήσσα, κολυμπά' 
 ϊδε πώς γερα,νος οδεύει' 
 { άφελώς $ ελα,μ,ψε Τιτάν 
 
 \S ν> — \S \\ — ν — 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 'IBe 7τα)ί, eapos φανίντος^ Xaptres βρνονσι ρόδα. Ί- 
 Be 7τα>5 κύμα ^αΧάσσηε airakvvzrai yaXrjvr). 'IBe ττωί 
 νήσσα χο\ύμ£γ iBe ttcos yepavos oBever Be Τίταν e- 
 \άμψ€ άφέλωε• 
 
 TRANSLATION. 
 
 ODE XXXVII. On Spring. 
 
 Look-thou how- that, the spring appearing, the Graces 
 are-scattering roses ! Look how the wave of the sea is sof- 
 tened to a calm ! Behold how the duck swims : behold how 
 the crane journeys : and Titan hath-blazed-forth apertly : 
 
 1. Έαρος φανειτος, spring having- 
 made-its-appearance. In the scan- 
 ning, I have regarded Έαρος, as a 
 dissyllable, — but it may, equally 
 well, be a trisyllable, like γίρανος } 
 in verse 6, below. 
 
 3. xvfxa θαλάσσης, very freely, 
 the face or surface of the deep. 
 
 5. νήσσα, the duck or drake, that 
 is, d\u:ks and drakes in general: in 
 any domesticated (or, even wild) 
 flock of these birds, the ducks be- 
 ing the more numerous, the whole 
 are in common discourse termed 
 ducks : — *ολυ^£α, swims or dives. 
 In the spring, when the frost and 
 
 ice are gone, ducks may be seen 
 enjoying the water, — and frolick- 
 ing in an element dear to them. 
 
 6. γερανός hhvu, the crane trav- 
 els or is-journeying, — or, in other 
 words, is cleaving its wag through 
 the air, namely, on its passage a- 
 cross Greece to the various regi- 
 ons which that bird annually re- 
 visits in spring, — among which 
 regions are, — Greece itself, Dal- 
 matia, Thrace, Italy, and several 
 of the neighbouring countries. 
 
 Τ. «λα/χψί Τιτάν, Titan (or, the 
 Sun) hathshone-forth, that, is, Ti- 
 tan is-shining brightly, for the a- 
 Ε 
 
98 χχχνιι. 8. Ανακρέοντος 
 
 8 
 
 9 
 
 10 
 
 11 
 
 12 
 
 νεφελών σκιά,) δονούνται, 
 το\ βροτών 8* εΚοιμψεν έργα,. 
 Κοιρποΐσι γσ,ΐα, προκύπτει* 
 καρπός εΚαίας προκύπτει* 
 Βρόμιου στέφεται νάμα. 
 
 ss ν/ — w — \y — ν/ 
 
 ν/ \s — y ^\\~' w """ w 
 
 — — ν» ^ll - ν — — 
 
 «- ν» y — — ν» — — 
 
 ν υ - ν» w — — \, 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 σκίαι νεφελών δονούνται,, — Be τα ερηα βρότων εΧάμψε. 
 Γαία προκύπτει καρποίσϊ κάρποε ε\αία$ προκύπτει- 
 νάμα Βρόμων στέφεται. 
 
 TRANSLATION. 
 
 shadows of clouds are- flitted -along, and the works of men 
 have - shone - resplendent. 
 
 The Earth is-pouting with fruits : the fruit of the olive- 
 tree is-pouting : the fount of Bacchus is-being-crowned. 
 
 orists, and preterites, of verbs of 
 habitude, have a present, as well 
 as a past, signification. 
 
 9. βροτωι epya, the works of men, 
 such as, cities, temples, towers, vil- 
 las, and edifices, which now glitter 
 in the beams of the sun. 
 
 10. καρποΤσι yoiict προκύπτει, li- 
 terally, the Earth bendeth forward 
 (that is, teems, or, is replete) with 
 fruits or produce. Such I take the 
 sense of προκύπτω here to be; be- 
 cause its more usual acceptation 
 " Ipropend, or, I hang forwardly 
 down" the context will not admit. 
 In the scanning, I have consider- 
 ed the diphthong a»-, in yaXa, to 
 be shortened before the vowel -a, 
 that follows; which vowel (being 
 short,) is lengthened, — partly by 
 caesura, and partly by initial «y-, 
 of the next word : — but the line 
 may be scanned in another way. 
 Two, or three, different readings 
 of this verse occur, — for, in some 
 copies it is, καρπός γαίας προκύπ- 
 
 τω, — and, in others, καρπός Ιτέας 
 (of the willow) προκύπτω.-- Seve- 
 ral of the learned have pronoun- 
 ced this verse to be spurious. 
 
 11. καρπός Ιλαίας, — the produce 
 or fruit of the olive-tree, by us cal- 
 led an olive: but spring is not the 
 season for olives, nor for fruit of 
 any sort, except such as is forced. 
 In that season merely the coming 
 fruit makes its first appearance, 
 with the decaying blossom. The 
 first foot of this verse, I have ta- 
 ken to be a choriambic; yet may 
 the first syllable indeed of ίλαίας 
 be lengthened by ectasis; and the 
 second be shortened — before the 
 vowel which follows. 
 
 12. στίφιται ι/αίμα, the liquor or 
 the fount is crowned: however cri- 
 tics are not agreed as to the pre- 
 cise meaning of this coronation : 
 for, some imagine the poet means 
 the juice in the vine which is (as 
 it were,) crowned with the vine- 
 leaves ; whilst others think a ge- 
 
ΤΗΙΟΤ ΜΕΛΗ. XXXVII. 13. 09 
 
 13 
 14 
 
 Κατά φύλλον, κα,τα, κλώνα, 
 καθέλών ηνΟισε καρπός. 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 Κάτα φύΧΚον, κάτα κ\ώνα ) κάρπο? κάθέΚων ήνθισε. 
 TRANSLATION. 
 
 Amidst leaf, amidst branch, the fruit bending- them -down 
 hath-flourished. 
 
 lid spring sacred to Bacchus, be- 
 cause yielding excellent water to 
 cool wine, or to dilute it, is here 
 alluded to; and yet again, others 
 say that nothing more is signifi- 
 ed than the wine in the drinking 
 cups which, at banquets, were in 
 this season of the year, crowned 
 or decorated with flowers. The 
 last foot of this verse is an anti- 
 spast, — but, in many editions, the 
 reading is το να,μ,α, — which Dal- 
 zel rejected, — but Dunbar adop- 
 ted, as being (so he asserts,) un- 
 doubtedly right. 
 
 14. KubtXut, weighing (or, bend- 
 ing) down, that is, burdening — the 
 tree upon which it grows. Most 
 of the learned, however, under- 
 stand iavTo^namely^apTrop, after 
 this participle. Baxter took the 
 meaning to be " deducens se," — 
 but Barnes, "diff undens se, — and 
 
 Dacier, " exerens se." Dalzel un- 
 derstood ακθ*ί or ά,νΰηλκζ., instead 
 of εαντοϊ, after the participle κα- 
 βελων, and rendered the passage, 
 ' ' beside the leaves, and alongst the 
 boughs, the fruit, having destroyed 
 the blossoms, abounds; or, the fruit 
 flourishes on the ruins of the blos- 
 soms." But Dunbar, again, cen- 
 sures Dalzel's acceptation of ca- 
 θβλων, having destroyed, — and he 
 translates the sentence, — <c along 
 the leaves, along the branches, the 
 fruit, bending them down, flourish- 
 es" In room of fj>Qw } many edi- 
 tions give ψΰησί. The aorist may 
 here be taken either in a past or 
 present sense, else, as expressing 
 habit, — has flourished, flourishes, 
 is wont to flourish. Baxter, most 
 preposterously, will have it, that 
 καρπός in this verse is put (figu- 
 ratively) for " an orchard i" 
 
loo χχχνιιι. ι. Ανακρέοντος 
 
 ΩΔΗ χ AH'. 'Εις Έαι /rov. 
 
 ΈΓίΐ yi/3ow /^ ν ^/^ 
 
 viiov πλέον $ε πίνω' 
 κο%ν ί^σ"^ ^£ %ορεύειν, 
 σκήπτρο ν ε%ω τον ο\σκόν 
 
 6 νάρθηξ ου 8 εν εστίν. 
 
 w — ν/ — w — 
 \J — \s -"||ns — 
 
 — — — wl!»»/ — 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 'Eya> βίμ,ί μεν <γερων> δε πίνω π\έον νέων και kav 
 Βεήστ) με χορεύεον, ίγω τον άσκον σκήπτρον 6 νάρθηξ 
 εστί ovBev. 
 
 TRANSLATION. 
 
 ODE XXXIII. On Himself. 
 
 I am indeed an old-man, — but I drink more than the 
 young-men: and, if it -be- required that I dance, I hold 
 the flask for truncheon ; the baton is nothing. 
 
 ous ways against that of the per- 
 son opposite. The morris-dancers, 
 that is, those who dance after the 
 Moorish fashion, have sometimes 
 swords to clash, instead of trun- 
 
 3. Although the first two ver- 
 ses of this Ode, are, strictly, di- 
 meter iambic catalectic, yet this, 
 the third verse, cannot be redu- 
 ced to that standard; for, it con- 
 sists either of a second Epritrite 
 and an Ionic a minore, — else, by 
 viewing &ί?ση as a dissyllable, we 
 have a fourth Epritrite, and then 
 a Mondmeter Iambic, Catalectic. 
 This latter arrangement accords 
 best with the other verses, — and 
 the metre, throughout, is Antis- 
 pastic Pherecratean, and similar 
 to Odes xxvii and xxxiv, above. 
 
 4. σκϊτττρ ov εχν, I have or I hold 
 a stick or staff. It was customa- 
 ry with the ancients, as it still is 
 in some parts with the moderns, 
 to dance with a short staff in the 
 hand,— and frequently to imitate 
 warfare, hitting the staff in vari- 
 
 cheons or staves, — and at other 
 times they carry flags,— or little 
 bells, or castanets in both hands, 
 with which they perform nume- 
 rous feats of dexterity— keeping 
 time with the music : — άσκον, a 
 flask or bladder, for wine. 
 
 5. νά$ν)ξ } a batoon or baton, that 
 is, a staff—of a less size than the 
 amirrpv, which last was sacred to 
 Bacchus and borne by the leader 
 of the dance,— whilst each of the 
 other dancers carried a >άρθη£ or 
 baton. Hence the proverb, ιτολ- 
 λοί »αρθ>ικο<ρόρο» — iravfoi ίί Βάκχο», 
 many are baton-bearers, — but few 
 are Bacchuses. The σχίτττρο* was 
 
ΤΗΙΟΤ ΜΕΛΗ. XXXVIII. 6. 101 
 
 6 Ό ph §έλων ^άχ£<70α/, 
 
 7 ταϊστώ, κοά [ΑΟ,γεσ'θω. 
 
 8 Έ^οί κύττέΚΚον, ώ tow, 
 
 9 μελιχρον οΐνον tjSvv 
 
 10 εγκεράσας, φόρησον. 
 
 11 'Εγώ γ^/ 3 ^ /^sv hifbij 
 12 ! Χειλψον εν μεσοισι 
 13\ [Λίμού/κενος, <χρρεύσω•. 
 
 ν/ — \/ — *■* "* w 
 
 C---L-- 
 
 ||w J- 
 
 %• — ν/ -"11^ —1^ 
 — ν — ~||^ "" ν 
 
 ιί/ — ν/ — W — ν 
 
 --""ΙΙ"Τ 
 
 *> — ν — || ν — — 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 
 Ό μεν βίβλων μαγεσθαι, τταρέστω, και μαχέσθω. Φό- 
 ρησον εμοι, ω παν, κυπεΧΧον, εγκεράσαν ηΒυν μεΧίχρον 
 ο ίνον. Έ<γω είμι μεν γέρων, γρ ρεύσω εν μεσοίσι μι- 
 μούμενοι ^ειΧήνον. 
 
 TRANSLATION. 
 
 Let the- man in-troth wishing to fight, stand-up, — and 
 fight. Bring me, Ο waiter, a cup, — having-blended-in it 
 delicious honey -complexioned wine. I am, in -sooth, an 
 old-man, — I will dance in the midst, personating Silenus. 
 
 12. Xnhwov, Silenus, a drunk- 
 en old demigod, the fosterfather, 
 
 often entwined with green leaves 
 particularly, ivy-leaves, like the 
 thyrsus : — ου$ίν 'tcrrt, is nothing, 
 that is, it is no honor whatever to 
 he a baton-bearer, — the honor be- 
 ing all his, who carries the σχήπ- 
 Tfov and leads the dance. For ό 
 mpGrj|, Barnes gave *apGr y | yap. 
 
 7. τταρεστα», — let him stand close 
 up, χχ) μαχίσΒω, and fight me, not 
 with his baton or staff, but with 
 a wine flask or bladder. Several 
 MSS. have πάρΐίτπ yap, μαχίσθω, 
 but coldly. 
 
 9 — 10. /-ιιλ^ρον o<Vof riavv iyv.t- 
 ράσας, having mingled or mixed up 
 (namely, with water,) in it (that 
 is, the cup,) delicious wine — of the 
 fine clear yellow color of honey, — 
 meaning, of a saffron-amber tint. 
 
 preceptor, and attendant of Bac- 
 chus : — « μ,εσ-οισι, in the midst, 
 or middle. Stephens thought the 
 particle 3e, 'and,* was required in 
 this verse to conjoin it, in sense, 
 with the foregoing; but that the 
 metre did not admit of its inser- 
 tion. Barnes, however, found a 
 place for it, — by changing iv /xs- 
 σο\σ\ into ev (w-sVot; li : but, first, 
 the particle &, is thus (entirely) 
 misplaced, — and next, the sense 
 by no meaas requires it. With- 
 out^ the connection is perfect: 
 with &, the beauty of the phrase 
 is destroyed. Anacreon was an 
 old man, — and in every way well 
 calculated to personate Silenus. 
 
102 χχχιχ. ι. Ανακρέοντος 
 
 ΏΔΕΤ ΑΘ'. Έις'Εσ,υτον 
 
 ΌΤ εγώ πιω τον οΐνον, 
 τότε ρευ ητορ Ια,νθεν 
 οΧργβτα,ι Μούσας λιγα,ίνειν. 
 Ότ εγώ πιω τον όΐνον, 
 ά,π ο ρίπτονται μέριμναι, 
 πολυφροντιδες τ ε βουΚού, 
 ες ' ά,λικτύπους κήτας. 
 
 WW — W — W — w 
 
 W W ν/ \J — w 
 
 W ν, — — — w 
 W ν» — wll — \J 
 W ν/ — wll— V 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 "Οτε έ<γω πιω τον ο Lvov, τότε ιάνθεν ήτορ μεν άρχε- 
 ται Χνγαίνειν Μούσας. "Οτε εγω πιω τον οίνον, μερίμ- 
 ναι αποριπτόνται, τε ποΧυφρόντώες βονλαί, ej αΚίκ- 
 τνπουί αήταί, 
 
 TRANSLATION. 
 
 ODE ΧΧΧΙΧ. On Himself. 
 
 When-that I drink wine, then the exhilarated heart 
 of me begins to chirm the Muses. 
 
 When-that I drink wine, cares are-cast-off, and many- 
 thoughted projects, to sea- beating blasts. 
 
 1. δτ iyu> πιω rot οΐνον, whenev- 
 er I drink the wine: here eya> and 
 top are unnecessarily expressed, 
 unless it be for the sake of em- 
 phasis as to the man, — and im- 
 plying excellence as to the wine. 
 This verse occurs again no fewer 
 than six times below, and is ge- 
 nerally followed by a pure dime- 
 ter Ionic a minore. 
 
 3. The common lection of this 
 verse is ^yalmv αρχϊτα» Μοζίσα? , 
 which Baxter calls an Ionic ά-π 
 βλάσ-σονος or a minore, the middle 
 syllable of foyamiv, and the last 
 
 of άρρητα», being, in his opinion, 
 short. But Barnes transposed 
 the first and the last word of the 
 verse, reading — Μούσας αργ%ΤΛΐ 
 Xtyociviiv, a fourth and a second e- 
 pitrite. The verse, as I give it, 
 consists of two second epitrites. 
 The verb hiyaitut is (here) usur- 
 ped transitively, and signifies, — 
 " to sing in a very low soft man- 
 ner.'' In lieu of α^χ§τα», some few 
 have aptrat, and others, ctyctva. 
 5. Barnes here edited, άτορίττ- 
 τιτα» μ.ίρψια } having altered the 
 plural to the singular number. 
 
ΤΗΙΟΤ ΜΕΛΗ. XXXIX. 8. 103 
 
 8 
 9 
 10 
 11 
 12 
 13 
 14 
 
 Ότ εγώ πιω τον όΐνον, 
 λυσΊπαίγμων τότε Βάκχος 
 πολυα,νθέσιν μ εν άύρα,ις 
 $ονέει, μέθΎ] γα,νώσ-α,ς. 
 "Οτ εγώ πιω τον οΐνον, 
 στεφάνους οίνθεσι τίΚεξ&ς, 
 επι6ε)ς Si τω κο^ρήνω, 
 
 15)βιο'του μέλπω γαΧήνψ. 
 
 w ν/ — — w ν — ν 
 
 ν^ \j — w Ι — y V4> 
 
 w ν - '-'ll-" ^ *~ — 
 
 \* w — ν/ I— w — ν 
 
 ν* ν# •» — ks ν — — 
 
 us *J — wll — \J — -~ 
 
 <** vy — —II— ν^ — — 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 "Ore iyw πιω τον οίνον, τότε \νσιπαίημων Βάκχο? δό- 
 veei μ€ ev ποΧνάνθεσι avpats, ηανωσα? μεθτ), "Οτε €γα> 
 πίω τον οίνον, πΧέξα? στέφανου? άνθεσι, Βε έπι,Θει,ε τω 
 καρήνω, μέλπω <γάλήνην βίοτον. 
 TRANSLATION. 
 
 When-that I drink wine, then frolick- loosing Bacchus 
 whirls me in many -blossom -perfumed breezes, — charming 
 with deliriousness. 
 
 When -that I drink wine, having- wove chaplets of flow- 
 ers, and placed them on the head, I chant the calm of life. 
 
 pa»<r, some copies have ε» ώρα,ις, in 
 or for hours, badly. 
 
 11. γα,νωσας, mirthfully -affect- 
 ing (or having-affected) me,— that 
 is, charming or delighting me. 
 
 9. λνσιπαίγων Βάκχος, frolick- 
 hosing Bacchus, that is, wine, gi- 
 ving hose to sport or recreation .• 
 but some critics think this word 
 corrupt— and bearing a meaning 
 contrary to analogy. Hence then 
 in several editions we find, <pAo- 
 παίγμωρ, sport-loving, — as in Ode 
 xlii, verse 2, — and afterwards in 
 Ode xlixj verse 3, below : one or 
 two editions indeed have λνσιπν- 
 μω*, wo -dissolving. 
 
 10. πολναο/Όεσι* ϊϊά,νοαις, inma- 
 ny -flowered (or, many -blossomed) 
 breezes or gales, — with allusion to 
 the fragrance with which a great 
 multitude of various flowers and 
 blossoms fills the air. For Ίν ά,ύ- 
 
 15. /3»Otou μέλπω γαληνην this 
 is the reading of every MS., and 
 unquestionably correct: yet Bar- 
 nes, to suit his idea of the metre, 
 edited μίλπω βιότον in lieu of βλ- 
 ίτου μέλπω, — most inconsiderate- 
 ly. Such change, indeed, so far as 
 regards the metre, only gives an 
 Ionic major, for an Ionic minor. 
 Baxter, I think, must have had 
 a very erroneous notion of scan- 
 ning, to call μέλπω in this verse, 
 or any where else, an iambus. 
 
104 χχχιχ. 16. Ανακρέοντος 
 
 16 
 17 
 18 
 19 
 
 20 
 21 
 
 99 
 93 
 
 Or ε<γω πιω τον οινον, 
 μ,νρω ivcuSs'i τέγξα^ 
 ίέμ,α,ς, ονγκάλα,ις Si κούρψ 
 κατέχων, Κύπριν άεί$ω. 
 Ότ εγώ πιω τον οΐνον, 
 ύπο κύρτοισι κνκεΧΚοις 
 τον ε[λ,ον ν'οον άτλώοτα,^, 
 %ιάσω τέρπομοι,ι κούρων. 
 
 ν> ^ — *-Ί — w — ν 
 
 \* \r — — \\\j %/ — — 
 
 %0 ν/ ■*■ vll— ν — — 
 
 ^ ν/ — ν || — V — • β 
 
 ν-»ν — wll— vr — W 
 
 ν» ν — — ||ν/ V — — 
 
 ss vs — ^11 — w — — 
 
 V W — -ν — — — 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 "Ore εηω πιω τον οίνον, T&y^as Βέμα,9 ενώΒβϊ μύρω, Be 
 κάτοχων κούρην ayfcd\cu9, αβίΒω Κύπριν. "Ore βγω πι- 
 ω τον οίνον, άπ\ώσα? τον έμον νόον ϊιπο κνρτοίσι κυ- 
 πέ\\οι,9 3 τέρπομαι ^ίασω κούρων, 
 TRANSLATION. 
 
 When -that I drink wine, — having- bedewed my flesh 
 with fragrant ointment, and clasping a maid in my arms, I 
 sing-of Venus. 
 
 When -that I drink wine, — having expanded my soul 
 with capacious cups, I delight in the choir of youths. 
 
 17. The final long vowel of μ.ΰ- 
 fu is here shortened — before the 
 
 initial diphthong tv-, which fol- 
 lows : — τέγξας, having moistened 
 or anointed. The practice of be- 
 smearing the body with fragrant 
 unguent and scented oil was ge- 
 neral — amongst such of the anci- 
 ents as laid claim to any degree 
 of gentility. 
 
 18. άγχάλα,ις, in my folded- arms 
 or embraces: — xovpw, a maiden, a 
 girl or young-woman. 
 
 19. κατίγων, holding or detain- 
 ing : — KvTrpm ai&u, I sing Cypris 
 or Cypria, —that is, Venus, the Cy- 
 prian Goddess : for, in the island 
 of Cyprus, Vknus was the chief 
 
 deity ; and many were the tem- 
 ples, and the places, consecrated 
 to her worship and service. 
 
 21. The old lection is, wo kv(- 
 τοΓς ^t χυπελλοις, — which Barnes 
 indeed altered to, ύττοκι/ρτοισ» κν 
 «•ίλλό»ς. This alteration being, 
 in some degree, an amendment, 
 I have adopted it in part. 
 
 22. νόον ίττλωσΛζ, having expan- 
 ded the mind, — in a sense similar 
 to, " having smoothed the wrinkled 
 brow of care." Barnes thrust y 
 in between νόον and άπλώσας. 
 
 23. Baxter accounted the final 
 syllable of τϊρττο/Λα* short in this 
 verse. In lieu of τ/ρη-ο^α», Barnes 
 
 , gave ytyriBec. 
 
ΤΗΙΟΤ ΜΕΛΗ. XXXIX. 24. 105 
 
 24! 
 
 25 
 26 
 27ι 
 
 "Or εγώ πιω τον οΐνον, 
 το'8ε (λοι μόνον το κέρδος' 
 τί8' εγώ λαβών owro/Vor 
 το %&νεΊν γο\ρ μ,ετα, πάντων. 
 
 S/ \J — W» II— s^ — w 
 
 W V - V/ — ν-> — ν» 
 
 ν-» w» — ^ΙΙ"" ^ — — 
 
 ^ w — — ν/ «»/ — • ■— 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 "Ore εγω 7rto) τοι/ οίνον, r68e μοι το μόνον κέρδος' λ,α- 
 βωι> τόδβ εγω αττοίσω• yap μ,έτα πάντων το ^aveiv. 
 TRANSLATION. 
 
 When-that I drink wine, this to me is the only prize : 
 having-taken this, I will-bear-it-away : — for, with all / 
 have to die. 
 
 25. μόνον το κίρκος, the only gain 
 or profit, the sole benefit or prize. 
 In place of μόνον, all MSS., I be- 
 lieve, and so most editions, have 
 μόνω, which Baxter designated a 
 word of no meaning, in this sen- 
 tence; and in room of it, he sub- 
 stituted μόνον. Barnes (without 
 slighting Baxter's reading,) ad- 
 hered to μόνω, — as being prefe- 
 rable, because emphatic, in con* 
 junction with μοί. I follow Bax- 
 ter, — not forgetting, however, 
 that μονοί often signifies " one," 
 or rather "for one, ' — and which, 
 if μόνω be the true lection, is its 
 meaning in this instance : this to 
 me, for one, the prize; or, I for one 
 enjoy drinking above every thing. 
 
 27. το SuvbTv, the to-die, that is, 
 death .• μιτα. πάντων, with all men, 
 that is, with others; else, after all- 
 things, or simply, after all, — a ve- 
 ry common expression : but fol- 
 lowed by a genitive, as it is here, 
 μίτοι generally signifies " with or 
 together with," whilst, in point of 
 sense, " after" appears perhaps 
 preferable, that is, only if πάντων 
 be of the neuter gender. Baxter 
 viewing the subject in this light 
 edited μιτα, πάντα, a reading few 
 have commended. I have ren- 
 dered πάντων, as though either of 
 the masculine or the neuter gen- 
 der, but in reality I consider αν- 
 θρώπων, or βροτων, to be the sub- 
 stantive understood. 
 
106 XL. ι. Ανακρέοντος 
 
 'ΩΔΗ' Μ'. Έ/$*Ε/)ωτα. 
 
 "ΕΡΩΣ ποτ εν po'Souri 
 κοιμ,ωμ,ενψ μ,εΚιττα,ν 
 ουκ εΐίεν, άλλ' ετρώθγ 
 τον δά,κτυλον 8ε δσ,γβεϊς 
 τοις χειρός, ώλόλυξε. 
 Αροτρων δε κνλ πετυ*σ§ε\ς 
 προς την καΧην Κυθψψ, 
 ολωλα, μόίτερ, εΐπεν, 
 ολωλα, κάποΟνήσκω. 
 
 ι^ — ^ - ^ 
 
 Ύ ΊΓ Γ 
 
 sy — ν^ 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 
 Πότε 'Ε ρω? ουκ είΒε μεΧίτταν κοιμώμενην εν ροΒοί- 
 
 σι, άλλα ετρώθη' Βε Βάγθεΐ9 τον ΒάκτυΧον τα$ χειρός, 
 
 ωΧοΧνξε. Δε Βράμων και, πετάσθειν irpos την κάΧην 
 
 Κνθηρην, οΧώΧα, μάτερ, είπε, οΧώΧα και αποθνήσκω. 
 
 TRANSLATION. 
 
 ODE XL. On Cupid. 
 
 Once Cupid saw not a bee reposing-itself amongst ro- 
 ses, but was stung : — and, being-pained in the finger of 
 his hand, he screamed-out. 
 
 And having-run and flown unto beauteous Venus, " I 
 am- killed, mother," said he, " I am-killed, and am-dying. 
 
 2. Ηοψαμ,ίνγ,ν, sleeping or repo- 
 sing, that is, dozing or napping. 
 
 3. irp ώδ*}, literally, was wound- 
 ed, freely, received a sting. 
 
 4 — 5. Brunck placed no point 
 at the end of the preceding verse, 
 but a full point after δάκτυλο*, — 
 and, in lieu of & &*%6«*? τα? %!t- 
 ρος ,he edited πατάξας τα,ς χεφας, 
 the Vatican MS. having η-αταχ- 
 fclf τάς χείρας. Barnes, not per- 
 
 ceiving that the Doric dialect is 
 admirably well suited to the sim- 
 plicity of this Ode, changed &*%- 
 διίς and τα,ς, into ^χθε'ί and τη?. 
 6. δράκων καΐ 7ΓίτασθείΓ, having 
 run and flown, an energetic mode 
 of expressing speed: but this me- 
 thod of hurrying onward is pecu- 
 liar to some birds, — particularly 
 the goose, — which oft half -flying 
 and half- running, flieth in run- 
 
ΤΗΙΟΤ ΜΕΛΗ. XL. 10. 
 
 107 
 
 10 'Όφις μ έτυψε μικρός, 
 
 11 πτερωτός, ον κα,λοΰσι 
 
 12 {Λελιττα,ν οι γεωργοί. 
 
 13 C A $' έΐπεν, ει το κέντρον 
 14, Ίΐονεϊ το τοις μελιττας, 
 
 15 πόσον, 8οκεϊς, πονοϋσιν, 
 
 16 {Έρως, όσους συ βάΧΚεις ; 
 
 \j — 
 
 ν/ — 
 
 ht 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 Μί /cpos πτερωτός ocpis, bv δν γ6ωργο£ κάλόνσι μελίτ- 
 ταν, ervyjre με. Δε, a etVe, et to κέντρον to tcls με- 
 XLttcls iroveLy πόσον, δόκει$, ττονούσι, 'Epcos, oaovs συ 
 
 TRANSLATION. 
 
 A little winged viper which the farmers call a bee, hath- 
 stung me." 
 
 " But," said she, " if- that the sting of the bee, gives- 
 pain, how-much, thinkest thou, do-they- suffer, Cupid, as- 
 many-as thou hittest ?" 
 
 ning, and in running flieth. The 
 nautical speed of a boat has been 
 finely expressed, by " et velis, et 
 re'mis," both with sails and oars. 
 10. οψις μ. «τύψε /Λ»κρό?, a lit- 
 tle serpent or viper hath struck (or 
 pierced) me. 
 
 13. In place of ά £' 'ΰπεν, seve- 
 ral MSS., and editions, have & 
 unev, — for which Barnes put ffi 
 wo, innovatingly : — το xivrpot, 
 the goad or spur, the sting. 
 
 1 4. πονίΐ, causeth pain : but yet 
 in the next verse, the same verb 
 signifies " to smart or feel pain.'' 
 In like manner, the Latins used 
 their verb " doleo." For τα? ^ι- 
 
 λίττα? in this line, Barnes, to be 
 consistent, could not avoid giv- 
 ing, Της μιλπτης. 
 
 15. πόσον, how much ? either in 
 the neuter gender — understand- 
 ing άλγος or αχός, — else, in the 
 masculine gender — understand- 
 ing trovov.- 
 
 16. όσους, so many as,• — the an- 
 teponent (omitted by the figure 
 ellipsis,) evidently being, τόσον - 
 r<n, how many : — συ βάλλΒίς, thou 
 hittest or pUncturest, thou strikest 
 or woundest, namely, with thy ar- 
 rows, ^nd that too to the very heart, 
 — a beautiful thought and alto- 
 gether worthy of Anacreon. 
 
108 xll ι. Ανακρέοντος 
 
 ΏΔΗ λ ΜΑ'. 'Εις Χυμπίσιον. 
 ΊΛΑΡΟΓ πίωρεν όΐνον, 
 ο\νυ.μ,ε\^ομ,εν δε Βάκχο ν, 
 
 τον εφευρετο\ν %ορεία,ς, 
 τον oXccg ποθοϋντα, ^ολτά^, 
 τον ομότροπον "Ερωτι, 
 
 \J \s — \s — 
 
 \j — \j\\— sj — 
 
 \j \j — ν — ν 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 "I\apoL πιω μεν ο Lvov, Be αναμέ\ψομ€ν Βάκγον^ rov 
 €<p€vp€rav %opeias 9 τον ττοθούντα o\as μό\πα$, τον 6- 
 μότροττον Ερώτι, 
 
 TRANSLATION. 
 
 ODE XLI. On a Drinking- Ρ arty. 
 
 Blithesome let us drink wine, and we will-with-songs- 
 celebrate Bacchus — the inventor of the dance, — the one 
 longing for full melodies, — the one congenial with Cupid, 
 
 1. ιλαροί } blithe, cheerful, joyous, 
 gay, glad-of -heart, merry- in-mind } 
 full-of-glee. 
 
 2. ά*Λ/κ£λψο/Λ.£ν, we will resound 
 or celebrate-again-in-song, — that 
 
 is, we will sing mirthfully concern- 
 ing. Some critics say, that άνα- 
 μ.ϊλψο^ι»' is, here, put for ά»α.μίλ- 
 ψα^Λί?, that is, the first future of 
 the indicative for the first aorist 
 of the subjunctive, — by an Atti- 
 cism ; and these quote the first 
 book of Homer's Odyssey, verses 
 41, 57, and 85,— in support of this 
 opinion : but I cannot, candidly, 
 for my part, see any reason what- 
 ever for taking this verb in any 
 other tense or mood, than the i- 
 dentical tense and mood in which 
 it really is ; for, although ττίωμιν 
 be the present of the subjunctive 
 or rather imperative, it does not 
 
 by any means follow that the co- 
 pulative must have either a pre- 
 sent tense or an imperative mood 
 after it : let us drink, and we will 
 celebrate. 
 
 3. In place of itptvptrav χρείας, 
 Barnes here edited i^ivpi^v χο- 
 ρίΊγ,ς merely to please his own de- 
 licate ear. Although Anacreon 
 was an Ionian, he was not there- 
 fore confined to that particular 
 dialect, but uses (also) the other 
 dialects. In some copies the read- 
 ing is itpeifiTTjvxofe'.ai, nor badly. 
 
 4. ολα,ς μολπας, whole or entire 
 strains,— that is, full or unstinted 
 melodies. In room of ολας, some 
 editions have όλως, wholly or tho- 
 roughly. 
 
 5. The final syllable όμότροπο* 
 may either be lengthened by cae- 
 sura, or remain short, at option. 
 
ΤΗΙΟΤ ΜΕΛΗ. XLI. 6. 
 
 109 
 
 6 τον ερώμενον Κυθήρης' 
 
 7 όΥ ον η μέθη λοχεύθη, 
 
 8 δι ο ν η χάρις ετεγβη, 
 
 9 οΥ ο ν άμπαύεται λύπα, 
 
 1Λ ' η» Α > / y »»/ 
 
 10 όι ο ν ευναζετ ανία,. 
 
 1 1 Το μεν όΰν πομα κερασθεν 
 
 12 απαλοί φερουσι παίδες, 
 13ί το 5* ά%0£ π εφ εύγε μιγβεν 
 
 \/ ν/ — *-» 
 
 >-« ν/ — ««/ 
 
 s^ ν-» — >-/ 
 
 ν^• ν^ — — 
 
 W \^ — — 
 
 ν«» vy — \J 
 
 W \J — v^ 
 
 w w — w 
 
 V — w 
 
 V» — VI 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 τον ερώμενον Κυθήρης' Βία δν ή μέθη Χοχενθη, Βία δν 
 η χάρις ετεχθη. Βία δν Χύττα αμττανεται ) Βία δν ανία ευ- 
 ναζεται. Ουν μεν απαλοί παίΒες φερονσι το κεράσθεν 
 πόμα, Βε το άχο$ πεφευγε μίχθεν 
 TRANSLATION. 
 
 — the one beloved of Venus : — him by whom intoxica- 
 tion was-brought- forth, — him by whom delight was -begot- 
 ten, — him by whom grief is-quieted, — him by whom pain 
 is-laid-asleep. Therefore, indeed, do blooming boys bring 
 the mingled draught, — and anguish hath-fled, mixed with 
 
 himself. Αυπα. in this verse, and 
 ana. in the next, as also μ&ν, and 
 χάρις, in verses 7 and 8, are all, 
 as it were, personified .• Intoxica- 
 tion, Delight, Sorrow, Pain. 
 
 Barnes, however, inserted γ be- 
 fore "Ef «τ», — sillily. Some read 
 ομ,ότροφον, against the sense. 
 
 8. In this verse the final sylla- 
 ble of χ<ψ« may either be length- 
 ened by caesura, as I have mark- 
 ed it, — else it may remain short. 
 Barnes, with his usual liberality 
 of hand, thrust the copulative τ 
 in before «τεχθ»?. 
 
 9. Baxter kindly accounts the 
 final syllable of άμπανετα*, short 
 in this verse : and Barnes, again, 
 edited άμπαίατο here, and in the 
 next line, Ιννάζετο, — purposely to 
 please his own fancy : — the same 
 Barnes too, changed λνπα — into 
 λνπ-η, maintaining, in this parti- 
 cular, a sort of consistency with 
 
 11. The final syllable of ττόρα 
 may either be lengthened by cae- 
 sura, — or remain short. Barnes 
 gives πώμα,, — making the verse a 
 pure Ionic minor, but on no au- 
 thority of any sort: — y.epaaQev, 
 mingled or mixed ; for the Greeks 
 generally drank their wine mixed 
 with water, as the moderns more 
 usually treat brandy. 
 
 12. άπαλοϊ παίδες, literally, soft 
 or tender boys, more freely bloom- 
 ing youths ; — in the character of 
 pages or waiters. 
 
no xli. 14. Ανακρέοντος 
 
 14 
 
 15 
 16 
 17 
 
 18 
 
 19 
 20 
 21 
 22 
 23 
 
 ά,νε/Άοτροπω §υελλτ]. 
 Το μ,εν δΰν χό[λ& λά^ωμεν, 
 τα,ς δε φροντίδας μεθώμεν. 
 Τι yap εστί σοι το κέρδος 
 δδυρωμενω μ,εριμ,ναις ; 
 ΥΙόθε ν οϊδαμ,εν το μέλλον ; 
 Ό βίος βροτοΐς άδηλος. 
 Μεθύων §έλω %ορεύειν, 
 με μυρισμένος δε παίζειν, 
 μετά των καλών γυναικών. 
 
 w — \y 
 
 w w — W 
 w w — w 
 
 — w — wll — w — w 
 
 w w — wll — w — w 
 
 w — — wll — w — — 
 
 w ν — v ||~• V* -r V 
 
 W V w ||~ V ■■ V 
 
 w w — ΉΙ" *-'"•"" 
 
 ww- w|| — v» — 
 
 WW — 
 
 - 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 ανεμότροπω ^veWy. Ovv μ€ν \α§ώμ€ν to ττόμα, Be 
 μεθώμεν ras φρόντιΒας. Tap τι εστί το KepBos σοι o- 
 8υρώμ€νω μερίμναα ; Πόθβν οίΒαμεν το μέΧλον; Ό βί- 
 09 βρότοιε αΒήΧοε. Μέθυων ^έ\ω ^opevetv, Be μ€μν 
 ρίσμ€νο$ irai^eiv μέτα των κάλων γυναικών. 
 
 TRANSLATION, 
 the wind-roused storm. Therefore, in troth, let us take 
 the draught, and dismiss solicitudes. For what is the gain 
 to thee whining with cares ? 
 
 Whence know we the future? Life to mortals is uncer- 
 tain. Warmed-with-wine I wish to dance, — and, bedewed- 
 with-perfume, to sport with beauteous women. 
 
 14. Faber and Barnes give an- 
 μοσ-τρόφψ, — but Baxter and most 
 others have άνεμοτρόπω, rightly. 
 
 15. The observation, made on 
 πόρα. at verse 11, above, applies 
 equally to the same word here. 
 
 16. This verse indeed consists 
 of a double Trochaic syzygy, — in 
 other words, of four trochees. 
 
 18. όδνρνμύω, lamenting or sor- 
 rowing : here, the first foot is an 
 antispast; else the υ in ό^υρωμενω 
 may be read short. Stephens af- 
 firms, and rightly, that both οδν- 
 
 ρίσθα» and ο3νρ«σθ«ί were in use : 
 Barnes, however, changed ο^νρω- 
 μένω into ο^υνωμενω, being-pained- 
 
 21. μεθύων §έλω χόρευε», I wish 
 to dance tippled or tipsy. The an- 
 cients considered it a thing next 
 to impossible for a man to dance 
 well, until thoroughly warmed in 
 mind with wine. In confirmation 
 of this opinion, Cicero in one of 
 his Orations says, — " ηέτηο sdltat 
 sobrius, nisi forte insanit." 
 
 23. For tuv, in this verse, the 
 emendation of Baxter, MSS. and 
 
ΤΗΙΟΤ ΜΕΛΗ. XLL 24. Ill 
 
 24 
 25 
 26 
 27 
 
 Μελετώ Ss τοις §έλουσ ιν 
 όσον εστίν εν μ,εμμ,να,ις. 
 Ίλα/30/ πιω (λεν όΐνον, 
 ϊυν&μ,εΚ^ο^εν 8ε Βάκχο ν. 
 
 W \J — ν 
 
 w ν/ — \s 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 Ae όσον έστι, ev μερίμναί? μέ\€τω τοίί ^εΧονσι. *Ί\α- 
 ροί ΊΓίώμβν οίνον, δβ αναμβλψομεν Βάκγρν, 
 TRANSLATION. 
 
 But whatever there -is in cares let it concern those that 
 are willing. Joyous let us drink wine, and we will-with- 
 songs -celebrate Bacchus. 
 
 so most of the early editions too 
 have x«i. Barnes, again, conjec- 
 turing (and with some degree of 
 probability, indeed,) that a verse 
 had by mistake been omitted im- 
 mediately before this verse, — in- 
 troduced a line of his own, — μετά, 
 των καλώ» Ιφ?£ω», — and then μίτύ 
 χα» κάλων γννοαχων : — but Barnes 
 was by far too full of conjecture. 
 
 24. μ,ίλίτω, let it concern, or, let 
 it be an object of consideration to, 
 that is, let it engross the thoughts, 
 or, occupy the mind, — because I, 
 for one, derive, neither pleasure 
 nor profit, from any such source. 
 
 25. όσον Ιστ), as-much-so-ever- 
 as is, meaning, whatever pleasure 
 or profit there may be,— spoken i- 
 ronically and jeeringly. 
 
112 xlii. ι. Ανακρέοντος 
 
 ΏΔΗ λ MB'. Έ^Έαυτον. 
 ΠΟΘΕ'Ω μεν Διονύσου 
 
 φιλοπαίγμονος γρρεία,ς' 
 φιΚέω $' οτα,ν έφή§ου 
 μετό\ συμποτου λυρίζω. 
 Χτεφα,νίσκους ο 9 ύα,κίνθων 
 κροτα,φοΐσιν άμφιπλέξα,ς, 
 μετο\ παρθένων άθύρειν 
 φιλέω μάλιστα* πάντων. 
 
 Iw w — — 
 
 WW — \j — 
 
 WW — κ* 
 
 ww — w — \j — — 
 
 w v^ — w 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 Πόθ€ω μεν χορεία* φιλοπαίγμονα? Διονύσου' 8ε <ρί- 
 \εω δταζ/ Χυρίζω μέτα εφήξου συμποτου. Δε αμφιπ\έξ- 
 as κροταφοίσι, στεφανίσκουε υακίνθων, φί\εω μαΧίστα 
 πάντων αθύρειν μέτα παρθένων. 
 
 TRANSLATION. 
 
 ODE XLII. On Himself. 
 
 I long indeed for the dance of sport-loving Bacchus: 
 and I like when I play-on-the-harp with a youth my cup- 
 fellow. 
 
 And having-twined-about my temples, chaplets of hy- 
 acinths, I love most of-all-things to frolick with virgins. 
 
 2. χορβία?, the dance : the gen- 
 itive case after »βθ«», I desire or 
 
 I long for : yet some (preposter- 
 ously indeed) take χορύας, here, 
 to be the accusative case plural ; 
 Baxter rendered it " choreas" 
 
 3. In this verse, it is clear, the 
 final syllable of οται may, either 
 be accounted long by caesura, as I 
 have marked it; else, it may re- 
 main short. Barnes, to bring the 
 metre to his own standard, obli- 
 gingly changed οτα» into evr av. 
 
 4. συμιτότον, a cup-fellow, a pot- 
 companion, a comrade-drinker. 
 
 5. In several MSS., and so too 
 in editions £' is wanting; but the 
 sense very evidently requires its 
 presence: ύακί»θωρ, of hyacinths, 
 that is, of irises, or, flowers of the 
 flag or sword-grass, — not of hya- 
 cinths now so called. See the note 
 on the first line of Ode vii, above. 
 This verse — like the first, ninth, 
 tenth, fourteenth, and fifteenth — 
 is a pure Ionic a minore. 
 
ΤΗΙΟΤ ΜΕΛΗ. XLIL 9. 113 
 
 9| Φθο'νον ουκ oiS* εμ,ον ητορ, 
 10. φθόνον ουκ όϊίσ, δα,'ίκτον. 
 11ι Φιλολοιδοροιο γλώττης 
 
 12 φεύγω βέλεμνσ, κουφοί. 
 
 13 Χτυγέω μάχα,ς π&ροίνους 
 
 14 ποΚυκώμ,ους κοντά, ΰσ,ΐτ&ς, 
 
 15 νεοΟήλεσσ οΙ/αο, κούρα,ις? 
 \6\υπο βα,ρ&τω χορεύων. 
 17,| Β/ον Ύ]συ<χρν φερωμ,εν. 
 
 V/ \J — ν» — 
 V/ W — ^ΙΙ"" 
 
 ν» ν — ν|Ι — 
 
 \J \j — — w y» — ; .— 
 \j \j — ^11— ν — — 
 w v» — wll— v/ — w 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 
 Έμον ήτορ ουκ ot£e φθόνον, ουκ οίδα Βαί'κτον φθόνον. 
 Φεύγω κούφα βέλέμνα ψιλοΧοώοροίο γΧώττης. %τύ- 
 <γεω μάγα$ τταροίνουί κότα ττο\υκώμου9 §αίτα$, χορεύ- 
 ων αμα νεοθηΧέσσι κούραί» ΰπο βάρ£ιτω. Φβρώμεν η- 
 συχον βίον. 
 
 TRANSLATION, 
 
 My heart knows not grudge, I know not fretting envy. 
 I shun the pointless arrows of a slander-loving tongue. 
 
 I detest battles over-wine at revelry-rich banquets, dan- 
 cing with new-blooming maidens to the harp. Let us lead 
 a quiet life ! 
 
 10. For &*ϊκτό*, Barnes at first 
 proposed SccUtw, — but he after- 
 ward altered the reading to <ρθό- 
 yoy 6v ΛίΛα δηκτην, J do not fear 
 biting envy, making with the pre- 
 ceding verse rather better sense 
 than the vulgate lection : I nei- 
 ther envy others— nor dread I their 
 envy. But why ΛίΛα, and not Λ'- 
 Λ»α or Λ'Λ•»«α ? The deviation is 
 too great, from the common text. 
 
 12. (pivyu, a trisyllable by dia- 
 lysis, for φύγω, I avoid or I shun : 
 κουφά,, light, harmless, unavailing. 
 But some have κωφά. 
 
 15. In several copies the read- 
 ing is )>toQr)Xa.7<Tiv, — faultily: Bar- 
 nes gave νιοΟνλαις, drawing a dis- 
 tinction between ρεοΰηλΥΐς, and m- 
 όθ^λοί. Baxter, again, edited no 
 θήλεα, with one σ. 
 
 16. Barnes, placing a full stop 
 after <5Wx«i, — and only a comma 
 after χορεύω*, was unable (as well 
 
 , he might be) to reconcile χορεύω» 
 with φίρω/Λΐ». Being puzzled for 
 the instant, he drew a new verse 
 from his own brain, φψ, φίλτα- 
 τα», λίγοιμ,ι, — and inserted it be- 
 tween this line and the next. 
 
114 xliii. ι. Ανακρέοντος 
 
 w w - ν/ 
 
 Ϊ1ΔΗ Χ ΜΓ\ ΈίςΤέττη». 
 
 Μακαρι'ζομενγ σε, τεττιξ, 
 οτι 8εν8ρέων έπ όίκρων, 
 όλίγψ Spotrov πεπωκώς, 
 βσ,σιΚευς όπως άείΰεις. 
 Χο\ yap εστί κεϊνα, πάντα,, 
 οπόσσ, βλέπεις εν asypoig, 
 χ* οπόσα, φέρουαπν "ύρα,ι. 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 Μακαρίζομςν σε, τέττιξ, οτι km άκρων δενδρεων, 7Γ€- 
 πώκω? όΧιηην Βρόσον, αείΒει? οπω? βάσιΚευς. Γαρ 
 πάντα κείνα, οττοσα βΧέττεΐί εν ά<γροιε } και οττοσα "ίϊ- 
 ραι φερούσι, εστί σα. 
 
 TRANSLATION. 
 
 ODE XLIII. On a Grasshopper. 
 
 We felicitate thee, grasshopper, for-that on• the tree 
 tops — having-sipped a little dew — thou singest Tike a king. 
 Because-that all those -things, as-many-ever-as thou seest 
 in the fields, and as-many-as the seasons bring, are thine. 
 
 1. μακαξίζομίν at , we congratu- 
 late thee, or, we wish thee joy, we 
 
 greet thee fortunate, or happy, or 
 blest : — tctti|, locust or balm- 
 cricket. I have in the Transla- 
 tion rendered this word "grass- 
 hopper" as being the nearest in 
 signification to τίττι|, of the in- 
 sects wherewith we are (general* 
 ly) acquainted, — but the Ternf 
 of the Greeks, and " cicada" of 
 the Latins, although very much 
 of the same shape as our meadow 
 grasshopper, (only many a time 
 larger,) is not at all met with in 
 this country. The wrrr*|> indeed, 
 
 differs from the άκ^ς or locust in 
 many particulars. 
 
 2. hvfyiu» he άκρων, on the tree 
 tops or tops of the trees, — not, on 
 the highest trees, — as some trans- 
 late the words. 
 
 4. βασιλιάς όπως, as (if it were) 
 a king ; a proverbial expression, 
 as though a king must (necessa- 
 rily) be happy, and, because hap- 
 py, must sing. 
 
 7. For χ όπόσχ, Barnes gave 
 χωπόσα, — by crasis instead of by 
 apostrophe: — ώρα», the Seasons, , 
 namely, spring, summer, and au~ 
 tumn. For ώρα», Brunck has νλα». 
 
ΤΗΙΟΤ ΜΕΛΗ. XLIII. 8. 115 
 
 a 
 
 10 
 11 
 
 12 
 13 
 
 141 
 151 
 
 %ύ δε φιλία, γεωργών, 
 άπο μηδενός τι βλάπτων. 
 Συ §ε τίμιος βροτοϊσι, 
 §έρεος γλυκύς προφήτης* 
 φιλεουσι μεν σε Μοΰσα,ι, 
 φιλεει δε Φοϊ§ος άυτος, 
 λιγυρήν ί' εδωκεν δι μη ν. 
 Το δε γήρας ου σε τείρει. 
 
 ν/ ν/ — W — W — — ■ 
 
 \j ν/ — w — ν — — 
 
 ww- ν II "~ w — w 
 
 ν ν — ^||-" w — — 
 
 \s ν/ — w — w — w 
 
 WW — W |— W — W 
 
 ww — νΙΙ— w •»• — 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 Δε συ φί\ια γεωργών, αττο^Χάπτων tl μηδενός. Δε συ 
 τίμιος βροτοϊσι, ηΧύκυς προφήτης Στέρεος' Μούσαι μεν 
 φιλεουσι σε, δε Φοίβος αύτος φίΧεει, 8ε εδώκε Χίγυρην 
 οίμην. Δε. το γήρας ου τείρει σε. 
 TRANSLATION. 
 
 And thou art the liking of husbandmen, — damaging 
 aught of no- one's. And thou art honoured by mortals, Ο 
 sweet prophet of summer : — the Muses indeed love thee; 
 and Phoebus himself loveth thee, — and hath given thee a 
 shrill voice. And old-age wears thee not. 
 
 8. φιλία, in the sense of ψιλό- 
 ττ,ς, the love or liking, the darling 
 or delight : and yet several critics 
 (if-that critics they be,) take φι- 
 λία, here, to be an adjective ; and 
 others alter it to φίλιος. Barnes 
 gave <rv γαρ u φίλος γεωργών, and 
 a later editor adopting this read- 
 ing in part, changed γιωγγων into 
 
 γιωργοις. 
 
 10. τίμιος βροτο~<τι, literally, es- 
 timable to mortals, that is, esteem- 
 ι ed by mortals. 
 
 11. $ψος γλυκύς προφήτης, Ο ! 
 ι sweet prophet of summer. The ci- 
 
 cadce were held, by the ancients, 
 (and particularly by the poets,) 
 not merely in esteem, — but in a 
 sort of reverence. In this coun- 
 
 try the ' robin shares the respect 
 of most people of all ranks. The 
 voice of the cuckoo is to us an in- 
 dication of the approach of sum- 
 mer; and the first appearance of 
 the swallow indicates the return 
 of spring; so the voice of the ci- 
 cada was to the ancients the pro- 
 phet of summer,— because always 
 the prognosticator of that truly 
 delightful season. Here προφή- 
 της may be freely rendered, "vo- 
 calist or bard, — songster or melo- 
 dist, — herald or harbinger." 
 
 15. With allusion to the me- 
 tamorphosis of Tithonus (into a 
 grasshopper) by Aurora, who had 
 previously granted him immor- 
 tality without perpetual juveni- 
 
116 xliii. 16. Ανακρέοντος 
 
 16 
 17 
 18 
 
 Χοφε, γηγενές, φίλυμνε, 
 απαθής, α,να,ι^, όία-α,ρκε, 
 <τ%εδον ει %εοΐς οποίος. 
 
 ν/ \j — ν 1|~ w «- ν 
 ^/ ν — ν/||— W — \* 
 \/ ν — wll— w — ν/ 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 Ho<p€, γηΎενηε, φίλνμνε, άπαθη?, αναίμβ, ασάρκ€, et σγβ- 
 hov όμοιος ^έοΐί. 
 
 TRANSLATION. 
 
 Ο sapient, earth-born, song-loving, passionless, blood- 
 less, fleshless one, thou art almost semblant to the Gods. 
 
 lity. The cicada are said to put 
 off their skins before old-age ad- 
 vances, and thus, always become 
 young again. 
 
 16. σοφ\, wise-one, both because 
 skilled to sing— and also because 
 prescient of the future : — yrtyi- 
 wi, sprung up from the Earth, that 
 {^indigenous of the land, — and not 
 foreign. This was the pride, in- 
 deed, of the Athenians, who call- 
 ed themselves — α,υτόχβοης αψ^ρις, 
 native men, that is, not merely na- 
 tural-born, but originally produced 
 from the very soil which they inha- 
 bited, — comparing themselves to 
 these pleasant insects, and wear- 
 
 ing golden TfTT*ye« in their hair. 
 In confirmation of this trait of 
 Athenian vanity, see Thucidid'es, 
 Book I, chapter 6. 
 
 17. Most if not all MSS. have 
 άνα»(Μ.ό<ταρκ»,. — which some praise, 
 and others, again, censure : Sca- 
 liger first divided this word into 
 two. According to Homer, Iliad 
 V. 342, άνα»/χόσαρχο» are such, as 
 feed not on bread and wine. The 
 cicada is, in one sense, both flesh- 
 less and bloodless, and yet strict- 
 ly speaking it hath both flesh and 
 blood of a kind peculiar to itself. 
 The Vatican MS. has knpoactp- 
 m, the error of some copyist. 
 
ΤΗΙΟΤ ΜΕΛΗ. XLIV. 1. 117 
 
 1 
 
 3 
 4 
 5 
 6 
 7 
 8 
 9 
 10 
 
 \j ν — *»/ 
 
 w >-> — w 
 
 φΔΗ Ν ΜΔ'. Έ/^ τον Εαυτοί "Ονεφον. 
 
 ΈΔΟ'ΚΟΤΝ ova/} τροχ&ζειν, 
 πτέρυγας φέρων επ ωμών 
 6 δ* "Ε/3«)£ έχων [aqXvSSov 
 περί τοις κσ,λοΐς ποδίσκοις 
 εδίωκε κνλ χίγρ,νε. 
 Ύί §έλει ονα,ρ τόί' είναι ; 
 Αοκέω $' εγαογε πολλοίς 
 εν ερωοΊ μ>ε τλακεντα, 
 διολισθάνειν εν όίλλοις, 
 εν) τωδε συνδεθηνα,ι. 
 
 ν/ ν/ — <-» 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 Έδοκουν όναρ τροχάζβιν, φέρων πτερυηαί &πι ώμων. 
 Be 6 Έρωε έχων μο\ν§ϊ>ον ττέρι τοι$ κάλοι? ποΰίσκοις, 
 εδιώκε και κιγάμε. Τι ^e\ei τόδε όναρ eivai ; Δε €γώ- 
 ye δόκεω πΧακεντα εν iroWots ερώσι, με ev ά\\οΐ9 hi- 
 ο\Ισθανειν, τωδε ενι συνδεθήναι. 
 
 TRANSLATION. 
 
 ODE XLIV. On a Dream of his Own. 
 
 I seemed -to- myself in a dream to-be-running, having 
 wings on my shoulders ; and Cupid having lead round his 
 beautiful little-feet was-pursuing and overtook me. 
 
 What should this dream be? But I for-my-part think, 
 that, — being involved in many amours, I in others shall- 
 slip-through, — in this one be entangled. 
 
 1. ofap, by the figure ellipsis. 
 
 for κατ οναρ, in a dream 
 
 2. πτέρυγας φέρων eV ωμών, li- 
 terally, hearing or carrying wings 
 upon shoulders. 
 
 5. Here mark the beauty ari- 
 sing from a difference of tense,— 
 
 idMKt, was-pursuing, — κα* κιχρη, 
 and overtook. 
 
 6. Barnes, of his own accord, 
 thrust y' in before ovaup. 
 
 8. πλακίντα, being entangled or 
 involved, — allegorically with al- 
 lusion to birdcatching in nets. 
 
118 xlv. ι. Ανακρέοντος 
 
 ΏΔΗ ν ΜΕ'. 'Εις τα του 'Έρωτος Βέλη. 
 
 Ό ΆΝΚΤΡ ο της Κυ&ηρης, 
 τα/ία ΑημνΊ&ις καμίνοις, 
 
 τα βέλη τα των Ερώτων 
 εποίει λαβών σί8ηρον. 
 Άκ/ία^ ί* ε§α,πτε Κύπρις, 
 μέλι το γλυκύ λα£ο£σ"α• 
 ο <$' "Ε/)ω£ %ολην εμισγεν. 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 Ό άνηρ 6 της Κυθήρη$ 9 ττάρα Λημνιαιν καμίνοι$, \ά- 
 £ων σιδήρον eiroiei τα β£λη τα των Ερώτων. Ae Κύττ- 
 pt9 \α£ονσα το γ\νκυ μέ\ι ^άπτε άκώας• δε ο Έρως 
 εμ-ί'σγε χό\ην. 
 
 TRANSLATION. 
 
 ODE XLV. On the Arrows of Cupid. 
 
 The husband— he of Venus— at the Lomnian forges, 
 having-taken steel was-making the arrows, — those of the 
 Loves. And Cypris, having-taken dulcet honey, was-dip- 
 ping the points: but Cupid was mingling gall. 
 
 ferently : the very hardest steel, 
 
 too, was called χάλυ ψ or άδάμας. 
 
 6. The last syllable of γλυκύ is, 
 
 1. ο a»yp f the man, or, the hus- 
 band, — namely Vulcan, son of Ju- 
 no. Jupiter, it was said, threw 
 him from heaven, and he fell in 
 the island of Lemnos — receiving 
 a hurt in one of his legs, of which 
 he was ever afterwards lame. 
 
 2. πάρα Λτ>μ.Λα.ις χαμανοις, lite- 
 rally, at Lemnian forges. Lemnos, 
 an island in the iEgean sea, had 
 formerly several volcanoes in it : 
 these were thought to be forges, 
 or workshops, belonging to Vul- 
 can, the chief and also patron of 
 smiths of every description. 
 
 4. σβψοί, iron or steel, — indif- 
 
 in this verse, lengthened by cae- 
 sura. Barnes (very knowingly) 
 assigns other causes for length- 
 ening this syllable, viz. the force 
 of the accent, — and the presence 
 of the liquid following ! 
 
 7. χολτι», gall, in contrast with 
 f /ίλ», honey, — of the verse prece- 
 ding; a beautiful idea, — bitter- 
 ness mingled with sweetness ; and 
 in unison indeed with Plautus : 
 —"amor et melle et felle est fe« 
 cundissimus." 
 
ΤΗΙΟΤ ΜΕΛΗ. XLV. 8. 119 
 
 8 
 9 
 10 
 11 
 12 
 13 
 14 
 15 
 16 
 17 
 
 Ό $* "Αρης τότ εξ άύτης 
 στιξσ,ρον δόρυ κρ&,δα,ίνων, 
 βέλος ήυτέλιζ* ''Έρωτος. 
 Ό $ ν Ε/>ω£, τό$ εστ)ν, είπε, 
 β&ρυ' τζειρά,σα,ς νοήσεις. 
 "Ελα&ν βελεμ,νον "Αρης' 
 ύπε//£ΐ8ία,(Γε Κύπρις* 
 6 ί* 'Άρης οΧν&στενάζα,ς, 
 βα,ρύ, φησιν α,ρον αυτό. 
 Ό ί"Έ/3ω£, 2% άυτο, <^σ7. 
 
 Ν-» KJ — ^/ — V — — 
 
 w ν/ — w ||"~ ^ — ν 
 
 ^ \s — ^ — ^ — ν/ 
 
 ν ν/ — ν — ν — — 
 
 — i— - 
 
 V V/ — w — \J — » 
 
 ν ν/ — '-'ll - w — — 
 
 ν-» \y — ν||— ν^ — ^ 
 
 ν^ ν» — «-»— ν — ν/ 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 Ae τότ6 6 Άρης ef αύτη* κραΒαίνων στί£αρον Βόρν, ηυ- 
 τεΧίζζ βεΚοί Ερωτος. Ae eiire 6 Έρως, τόΒρ εστί βά- 
 ρν πείρασας νοήσας. Άρη? e\a€e βέλεμνον Kiftrpis 
 virepeiBiaae' Be 6 Άρης αναστέναξαν, φήσι, βάρν άρον 
 αύτο. Ae φήσι 6 Έρως, έχε αύτο. 
 TRANSLATION. 
 
 And then Mars from-out-of battle, brandishing a mas- 
 sive spear, disparaged the shaft of Cupid. But said Cu- 
 pid, " this-one is heavy: having-tried, thou wilt-perceive." 
 
 Mars took the weapon : Venus slily-smiled : and Mar?, 
 
 deeply-sighing, saith, 
 Cupid, " keep it." 
 
 8. The vulgate lection is, iror 
 if αυτής, once from out of combat, 
 or, as some render it, from battle 
 as it chanced. But de Pauw right- 
 ly edited, τότ' ί| α,ντνς. 
 
 10. βυτεΧιςι, demeaned or dispa- 
 raged, — treated with contempt or 
 made light of. 
 
 13. ελ<*€ι> βίλίανον'Άρνς, Mars 
 took the weapon, namely, up in his 
 hand, as if to try whether it were 
 heavy : — but Baxter understood 
 the meaning to be, — " Mars re- 
 
 (t heavy : — take it." But, quoth 
 
 ceived the weapon," — in his body; 
 an acceptation very dubious. 
 
 14. The penult of υπψα&α,σί 
 is in this verse lengthened by ec- 
 tasis : Barnes, however, would ra- 
 ther double the σ,— i n order to be 
 more certain. 
 
 15. άναστενάξας, having heaved 
 a deep groan, as though strange- 
 ly and overpoweredly affected by 
 the feel of the arrow. 
 
 17. ?χ άυτο, do thou have it (or 
 keep it) thyself. 
 
120 xlvl ι. Ανακρέοντος 
 
 ΏΔΗ λ Μς. 'Εις "Ερωτα. 
 
 ΧΑΑΕΠΟ'Ν το [ή φίλησαν 
 χαλεπό ν 8ε κού φίλη σαι' 
 
 γρλεπώτερον $ε πάντων 
 αποτύγχανε ιν φιΚουντα. 
 Γένος ουδέν εις "Ερωτα' 
 σοφίη, τρόπος πατεΐτα,Γ 
 μ,'ονον ά,ργυρον βλέπουσιν. 
 
 W W — W - W — W 
 
 W W — wl I— W — — 
 
 W W — V I— V — V 
 
 WW — w — w — \s 
 
 WW — w — w — w 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 Χάλ€7Γον το μη φιλήσαι, δε χάλ€πον καν φιλήσαι' 
 Be χα\€πώτ€ρον πάντων φιΚονντα αποτύγχαναν. Γί- 
 vos eis Ερώτα ovBev σόφιη, τρόπος πατβίται* β\€πον- 
 σι άργυρον μόνον. 
 
 TRANSLATION. 
 
 ODE XLVI. On Love. 
 
 A hard-thing it is not to-be-in-love ; and a hard-thing 
 also to-be-in-love, — but a harder-thing than all, for any- 
 one -in-love to fail- of- success. Birth is, in Love, nothing : 
 wit, breeding, is-trampled-on : they look-to money alone. 
 
 1. το μ.•» φίλϊο-α», the not to love 
 or the not to have loved, — the first 
 aorist tense of the infinitive mood 
 usurped substantively, — first, in 
 this verse with the prepositive or 
 definite article; and again in the 
 next verse, — but without the ar- 
 ticle. The verb Icrri is elegantly 
 omitted by the figure ellipsis in 
 each of the first three lines. 
 
 3. χαλιττώτιρο», a harder thing: 
 occasionally, indeed, the Greeks 
 put the comparative for the su- 
 perlative degree, and according- 
 ly some contend, that^^e^Ti- 
 
 pov has, here, the import of χαλι- 
 ττωτατο», — unnecessarily. 
 
 4. α,ποτυΎχάνιιν φίλονντα, free- 
 ly, that a lover should be frustra- 
 ted in his hopes. 
 
 5. u{"EfiajTcc, to or in Love, or 
 in courtship, that is, towards win- 
 ning the heart as an wooer. 
 
 6. σοφ'ν, wisdom, prudence, sen- 
 timent, knowledge, mind> — τρόπο; , 
 genius, disposition, good-breeding, 
 accomplishment, education. 
 
 7. βλέπονσ*, understand avQpu- 
 woi, men or mankind, — else,>v»ar- 
 κΐς, women or the females. 
 
ΤΗΙΟΤ ΜΕΛΗ. XL VI. 8. 121 
 
 8 
 
 9 
 
 10 
 11 
 12 
 13 
 14 
 
 'Ant oho ιτ ο πρώτος άυτος, 
 ο τον οΧρηυρον φϊλ/ήσα,ς. 
 Δ/α τούτον ουκ αδελφός, 
 <$/α τούτον ου τοκηες' 
 πο'λε/Αοι, φόνοι Si* αυτόν 
 το 8ε χείρον ολλύίΛεο-θα 
 &α τούτον οι φιλοϋντες. 
 
 V \J — ν>| — «w- — - 
 
 ν» ν.» — ^/||— w — ν 
 
 ««> s^ — ν|| — ν< — ^ 
 
 ν ν II— ^ — w 
 
 WW» — wjl— V — \J 
 
 il 
 
 ν ν» — ν»||— ν» — \s 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 
 ΑποΧοίτο αντο?, 6 πρώτο? ψιΧήσαί τον apyvpov. Δία 
 τούτον ουκ a$e\<pos 9 Βία τούτον ου τοκη€Γ ττόΧβμοί, 
 φόνοι Βία αύτον Be το ^eipov Βία τούτον 6c φϊΧονν- 
 Τ€9 οΧλ,υμέσθα. 
 
 TRANSLATION. 
 Perish may he himself, who first loved money. Through 
 this there is not brother, — through this there are not pa- 
 rents : — wars, murders are through it: — and, that which 
 is even worse, through this do we lovers perish. 
 
 8. αυτός, he himself, or simply, 
 ke,-avToq being (perhaps) put for 
 ixmef or *mos, neither of which 
 will the verse willingly admit. 
 
 10. ί»ά τούτο», through (or be- 
 cause of) it or this, namely, fyyv- 
 po», silver or money : — Όνκ ά^λφος, 
 understand either ΐ/*Γ» tern or a- 
 οιλφω Ίστί. 
 
 11. 6v Toxijey, there are not pa- 
 rents, that is, real parents — who 
 prefer the safety and the welfare 
 of their oflFspring to every other 
 
 earthly consideration— despising 
 filthy lucre when contrasted with 
 virtue, temperance, modesty, pa- 
 tience, justice, piety. 
 
 13 — 14. όλλν/χισθα. όι ψιλοννης, 
 literally, toe the ones-loving perish, 
 freely, we lovers are undone, that 
 is, such of us, as are really in love, 
 and are not possessed of the requi- 
 site charm — money — die of disap- 
 pointment and of despair. Barnes 
 headed this Ode, — 1«? έρωτα άισ- 
 Xfoxif^yj, on sordid love. 
 
122 xlvil ι. Ανακρέοντος 
 
 ΏΔΙΓ ΜΖ'. 'Εις Γέροντα 
 ΦΙΑΩΓ γέροντα τερπνόν, 
 φιλώ νέον %ορευτάν. 
 Γέρων & όταν %ορεύτ], 
 τρίχας γέρων μ,έν εστί, 
 τας $ε φρένας νεάζει. 
 
 ν/ - ν/ - 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 ΦίΧω τερπνόν yepovra, <ρί\ω νέον γρρεύταν. Γέρων 
 Be όταν xppevrjy έστι <γέρων τρίχας /xei>, δε τας φρένας 
 ν^αζα,. 
 
 TRANSLATION. 
 
 ODE. XL VII. On an Old Man. 
 
 I love a cheerful old-man, — I love a youthful dancer. 
 An old -man, however, when he dances, is aged as to his 
 locks indeed, — but in spirits he waxes-young. 
 
 Ode, is άλλο ώίάρκ», another little 
 ode : Barnes first changed the ti- 
 tle to, €ΐς «yipoi /τα, on an old-man, 
 
 1. yipona rspirvov, a jocund or a 
 merry old-man— one who is lively 
 and full of spirits. 
 
 2. Barnes (quite insensible, as 
 it were, to the beauty of the Do- 
 ric dialect, where either the sim- 
 plicity of the subject seems to re- 
 quire a broader, or the stateliness 
 of the verse— a more masculine 
 and fuller sound,) changed χ«ρ*ϋ- 
 rat into the effeminate Ionic and 
 common χορβυτνν, — thus convey- 
 ing the idea of dancing lady-like 
 or as some master of the art, in- 
 stead of (as Anacreon means,) a 
 nature -inspired, wine- exhilirat- 
 ed, unwearied dancer: — τρίχας, 
 understand the preposition, κα- 
 τά, as to his hair or locks; because 
 these are thin and grey. In MSS• 
 and most editions the title of this 
 
 the subject of it. Baxter very sil- 
 lily notices, that the letter α oc- 
 curs seven times — and the letter 
 u, four times in this short poem ; 
 and he honours those two ietters 
 with the appellation of " most so- 
 norous vowels :" but he forgets to 
 mention, that the «, is, in itself, 
 four times short, and only three 
 times long, indeed, in the seven 
 instances alluded to. 
 
 3. In theVaticanMS. the read- 
 ing is, av y ο yiput χορεντ). 
 
 5. τας <ρρβ»ας νιά,ζίΐ, — hewaxeth 
 youny (or, he is youthful) as to the 
 spirits, — that is, as to his heart or 
 mind : here again k*t« is under- 
 stood with τας ψ(ίκ*ς. 
 
ΤΗΙΟΤ ΜΕΛΗ. XL VIII. 1. 123 
 
 ν — ν - 
 
 w — ν 
 
 w w - w — \y — — 
 
 ΏΔΗ ν ΜΗ'. Έ/^Έαυτον. 
 
 1 ΔΟ'ΤΕ μ,οι λύρψ Όμηρου, 
 
 2 φονίης όίνευθε %op$rjg. 
 S Φέρε μοι κιίτίλλα δεσμών, 
 
 4 ^i/35 ^ο/, νόμους κεράσσω, 
 
 5 μ,εθύων όπως χορεύσω' 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 Δοτέ μοι \νρην'Ομήρον 9 ανεύθε φόνιη9 χόρδηε. Φέρε 
 μυι κνπελΧα δεσμών, φέρε μοι, κεράσσω νόμους, 'όπως 
 μεθυων γο ρεύσω' 
 
 TRANSLATION. 
 
 ODE XLVIII. On Himself. 
 
 Give- γ ε me the lyre of Homer, without its crimson 
 string. 
 
 Do-thou-bring me cups of soberness, — bring them to 
 me; I will commingle laws, — that intoxicate I may dance : 
 
 2. φοήης avtvbt χορ$ης, without 
 its blood-soiled (or, its slaughter- 
 sounding,) string. It was custo- 
 mary with lyrists, — as was men- 
 tioned above, — at verse 5, of the 
 first Ode, — to have different sets 
 of strings, — some finer, and some 
 coarser; so as (always) to be able, 
 by changing one, or more of the 
 strings of their lyre, to adapt the 
 music to the subject, — sweet and 
 soft for the theme of love; but, 
 shrill and loud, grave and deep, 
 for the topic of war. Anacreon 
 asks for Homer's harp — without 
 its "war string"— intimating his 
 admiration of the poet, — but dis- 
 like of bloodshed. 
 
 3. κνιηλλα${σμ.ω9 } very literal- 
 ly, cups of statutes or regulations, 
 
 meaning (as some do preposter- 
 ously indeed affirm,) either cups 
 whereon were written the laws of 
 conviviality and social drinking, 
 — else, cups containing those and 
 other laws, — written upon small 
 rolls, or slips of skin : else (as o- 
 thers think, and with much more 
 resemblance of right), jugs or de- 
 canters of water, — because water 
 (it is well known) keeps men so- 
 ber, — and consequently fit either 
 to enact or to dispense laws. 
 
 4. νομούς κερασσω, very literally, 
 I will mix laws; but some read >ό- 
 f*owi, distributions or possessions; 
 that is, I will mix water and wine 
 together : for, it was a Thracian 
 (and barbarous) custom to drink 
 wine without water. Some un- 
 
124 XL VIII. 6. ΑΝΑΚΡΕΟΝΤΟΣ 
 
 υπο σώφρονος δε λύσσης, 
 μετά, βοι,ρ§ίτων άεί$ων 9 
 το τζ&ροίνίον βοήσω. 
 
 V W — S/I 
 
 W W- W 
 
 WW-W 
 
 THE ORDER, AND ENGLISH ACCENTUATION, 
 δε νπο σώφρονος Χύσσηε, αείδων μέτα βάρ^ι,των, βοή- 
 σω το Ίταροίνιον. 
 
 TRANSLATION, 
 and, in conscious phrenzy, singing harmoniously with the 
 harps, will I proclaim the revel. 
 derstand ivu, or όπως, before κε- | sober, half drunk,— namely, sober 
 
 γασσ<ύ, but unnecessarily. 
 
 6. In or under conscious phren- 
 zy or dehriousness, — that is, half 
 
 with water, drunk with wine. 
 
 8. το πΛγθΜΐον ,the drinking-song, 
 or rather, the drunken-uproar. 
 
ΤΗΙΟΤ ΜΕΛΗ. XLIX. 1, 
 
 125 
 
 'φΔΗ Ν ΜΘ'. 'Εις Ζωγράφο». 
 
 ν ΑΓΕ, ζωγράφων άριστε, 
 λυρικής άκουε Μούσης, 
 φίλοπα,ίγμονα,ς 8ε Βάκχου 
 
 ετεροπνόους ενσ,ύλους' 
 γράφε τάς πόλεις τοπρώτον 
 ϊλ&ράς τε κού γελώσα,ς' ρ 
 
 w \s — ν — \s — — 
 
 ν — ν 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 
 'Aye, αρ(στ6 ζωγράφων, ακον€ Χνρικη» Μονση9, Be 
 φιλοπαίγμονα^ ίτερόπνοονε evav\ovs Βάκχου• γράφε 
 τοπρώτον rat πόλα,ς re r i\apas και γελωσαν 
 
 TRANSLATION. 
 
 ODE XLIX. To a Painter. 
 
 Come, Ο best of painters, listen -to the lyric Muse, and 
 the sport-loving alternate-breathing flute- players of Bac- 
 chus : paint, first-of-all, the cities both blithe and smiling ; 
 
 3 — 4. φιλοπαίγμονες $e Βάκχου 
 irsf οπνόονς Ινανλονς, and the sport- 
 loving, alternate-breathing, fluters 
 or pipers of Bacchus, the accusa- 
 tive case after ακοι /e, which verb 
 in the preceding verse, is follow- 
 ed by a genitive, — both regimens 
 being equally proper,— the latter 
 more Attic. The vulgate lection 
 is φιλοπαΊγ(Αονις-$€ Βάκχου, — an 
 unmeaning expression. Barnes, 
 on the authority, as he say3 of 
 the Vatican MS., changed the or- 
 der of the verses, — and he like- 
 wise (of his own accord,) altered 
 some of the words : the reading, 
 he gives, is, γράφι τας πόλΒίς, το- 
 πρντον, ιλαράς re χα» γελα/σα?' ψι- 
 λοτταΐγ^οΐάς τε Βάκχας , £τεροπ»όοις 
 
 Ιν άύλοΤς. Baxter entirely con- 
 demned this text, — but, for ριλο- 
 παίγμονίς of MSS., he edited <£t- 
 λοπαίγμ,ονος agreeing with Βάκχου 
 instead of ^ναύλους, as I give it. 
 
 4. h αυλού ς, pipers or flute-play- 
 ers : yet some render it "flutes," 
 or "flute notes" — contrary to its 
 meaning. 
 
 5. πόλεις, cities, — with allusion 
 perhaps to AchilleVs shield, — in 
 a compartment of which was ex. 
 hibited a city — with two litigants 
 pleading in one quarter ; and the 
 ceremonies of a marriage, in ano- 
 ther : but, I think, there is little 
 doubt, indeed, that πόσεις (drinks 
 or drink) is the genuine word, be- 
 cause it makes far better sense. 
 
126 xlix. 7. Ανακρέοντος 
 
 ο ίε κηρος άν Svvouro, 
 γράφε ηοΛ νόμους ψιλούντων. 
 
 ν w — ν/ 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 Se t av 6 κήρο$ δυναίτο, ypa<pe και νόμου? φιλούντων. 
 TRANSLATION. 
 
 and, if the wax can, paint too the laws of those-in-love. 
 
 7. For Πναιτο, most copies have 
 ίί/νητα», — as in Ode xxviii, verse 
 8, above. Both expressions are 
 right/ — and may respectively be 
 substituted for one another. 
 
 8. In lieu of φίλονρτωί, Baxter 
 restored ψιλουσα;, agreeing with 
 πόλίΐς. Faber, again, gave πι»ό»- 
 rwv, against the metre. Some o- 
 thers read irmrvi, — faultless. 
 
ΤΗΙΟΤ ΜΕΛΗ. L. 1, 
 
 127 
 
 'φΔΐϊ Ν'. 'Εις Aio'wtrov. 
 Ό ΤΟ λ Ν εν πο'νοις άτειρή 
 
 νέον, εν πο'θοις άταρβη, 
 κα,λον εν ποτοις γρρευτην 
 τελέων §εος κοντηλΒεν, 
 άταλον βροτοΊσι φίλτρον, 
 πίτον όίστονον κομίζων, 
 γο'νον αμπέλου, τον όΐνον, 
 
 ν w — ν 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 Ό *&eos τ£λ€ων τον veov ατείρη ev πόνοι,?, ατάρξη ev 
 ιγοΘομ, κάλον χορβύτην ev ττότοίϊ, κατηΧθβ, κομίζων ά- 
 ιταΚον φίΧτρον βροτοίσί, ττότον άστονον, φυΚάττων τον 
 ο Lvov, yovov άμπελοι», 
 
 TRANSLATION. 
 
 ODE L. On Bacchus. 
 
 The God that-renders the stripling unwearied in toils, 
 undaunted in loves, a good-dancer in drink, has-descend- 
 ed, bringing a soft charm to mortals, — a draught without- 
 a-sigh, — guarding the grape-juice, offspring of the vine, 
 
 ception of the Vatican, have wo- 
 τοίί, in draughts or drinkings. 
 4. κατίλθΕ, hath descended : — it 
 
 Ι. πόνοις, in toils : such, accor- 
 ding to Barnes, is the reading of 
 the Vatican MS., but all others, 
 Ibelieve,have ττότοις,ηβΓβ, — and 
 again in the second and also third 
 line. Baxter ridicules πόνοις in 
 this verse and «rofiots in the next, 
 contending for ttotojs — in each of 
 the three. The present Ode was 
 called — 'EwiXijno? "Ύμης, that is, 
 "Hymnus ad Torcular," or, Song 
 at the Wine Press, and was sung, 
 in full chorus, at the Vintage. 
 
 2. πόΰοις, in desires, or, in court- 
 ship : but all MSS., with the ex- 
 
 was feigned by the ancients, and 
 believed, that Lyseus (actually) 
 came down, — and was present at 
 the vintage and wine press. 
 ' 5. φίλτρον, a charm or a love po- 
 tion, — a philter. 
 
 6. πόχον αστονον, sighless drink 
 or a sighless draught: but Barnes 
 sometimes gives 'pdculum/ cup, 
 as the signification of πότοι. 
 
 7. τον οΐνον, the wine, or rather, 
 the unfermented juice of the grape. 
 
128 
 
 L. 8. Ανακρέοντος 
 
 8 
 9 
 10 
 11 
 12 
 13 
 14 
 
 πεπεδημένον όπώρα,ις 
 επί κλημάτων φυλάττων 
 Ίν\ οτα,ν τάμωσι βοτρυν, 
 άνοσοι μένων ι πάντες, 
 άνοσοι δέμας ^εητον, 
 άνοσοι γλυκύν τε §υμον, 
 ες έτους φα,νέντος άλλου. 
 
 \S \S — V^| — W — — 
 
 ν» ν — '-'ΙΙ— «-» — — 
 
 \zw- sy — ν/ — «»/ 
 
 ^ — w>||— w — ν 
 
 W Ν^ — ν-ΊΙ— »J — W 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 
 πεπεδήμενον οπώραι? έπι κλημάτων Χνα πάντεί, όταν 
 
 ταμώσι βότρυν, μβνώσι άνοσοι, άνοσοι ^€ητον δέ /xay, 
 
 άνοσοι τε γλνκυν ^τνμον, €ί άΧΚου έτους φανίντος. 
 
 TRANSLATION. 
 
 pent-up in autumnal-fruits upon the branches : that all, 
 when they have-cut the cluster, may-have-continued un- 
 diseased, — undiseased in sightly body, undiseased too in 
 sweet soul, until another year's appearing. 
 
 8. Baxter (not indeed without 
 the authority of MSS.) reads τπ- 
 »njSij/x£vo¥ from irnbuu, and he says 
 that the v, in the second syllable, 
 is shortened by systole ! But in 
 TrsKiSrifAivov — from πείίω, I fetter, 
 the second syllable is short with- 
 out systole. In some copies we 
 find y thrust in before όπύ^χις, 
 to prop the metre, unnecessarily. 
 
 9. MSS. have φνλά.τπιν, which 
 to me, (I confess) appears fault- 
 less indeed : — but editors have 
 changed it into φνλάττν», — for 
 which Barnes has φυλάσσω*. 
 
 10. όταν τύμωσι βότρνν, — when 
 they (the vintagers) cut tke clus- 
 ter -from the vine-branch. 
 
 11. άνοσοι μίνωσι πάντες, under- 
 stand βότρυες, that all the clusters 
 (or grapes^) may remain undisea- 
 
 sed, — meaning, healthy — and free 
 from taint of every kind. Baxter 
 and Barnes have been ridiculed 
 for mentioning the frequency of 
 fever in the autumn, — as though 
 the grapes could from this cause 
 be infected : — and yet a vitiated 
 state of the atmosphere, which is 
 not unusually the cause of fever, 
 might (undoubtedly) blight fruit 
 and cause it to spoil. An anony- 
 mous editor gives the import of 
 this passage in Latin, as follows: 
 iC Servat uvas in vitibus, — ut vi- 
 num sit mature coctum, et salu- 
 bre ; ac proinde sani sint potan- 
 tes, et morbos careant, usque ad 
 proximam vindemiam." 
 
 14. U eTovf, the emendation of 
 Schrevelius for ίσίτονς, — under- 
 stand χρόνον, time or period. 
 
THIOT MEAH. LI. 1. 
 
 129 
 
 ΏΔΗ Ν ΝΑ'. Έις Αίσκον έχοντα, Άφροίίτψ. 
 
 ΑΡΑ τις τορευσε τόντον ; 
 *Α/>α τις μ,Μεϊσο* τέγνα,, 
 ά,νέχευε κϋμα, 8ίσκω, 
 επϊ νώτα, της %(ύΛσσης ; 
 *Α/?α τις, ύπερ &άλα<7σ-αν, 
 άταλαν χάρα,ξε Κύπριν, 
 ν'οος ες %εονς άερθε)ς, 
 μα,κοίρων φύσιος ά,ρχάν ; 
 
 \S \* — W 
 
 W V/ — V 
 
 W V - W 
 
 S^ \J — V 
 
 — ν/ — ν/ 
 
 — ν/ — W 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 Άρα TC9 τορ€υσ€ ποντον ; Άρα tls μανείσα τέχνα 
 ave%eve Βίσκω κύμα kin νώτα τη? ^τα\άσσηί ; Άρα τ*? 
 ι/όοΓ, aepOeis es ^έον? 9 γαράξ€, υπέρ ^αΧάσσαν, αττα- 
 \αν Κύπριν, άρχαν φύσιοε μάκαρων ; 
 
 TRANSLATION. 
 
 ODE LI. On a Medal Having Venus» 
 Has some-one, then, embossed the ocean? Has some 
 inspired art, then, poured -forth upon a medal, the surge 
 on the back of the deep ? Has, then, some mind, exalted 
 to the Gods, enchased above the main, delicate Venus, o- 
 rigin of the nature of the blest ? 
 
 4. Ιπϊ νώτα, ττ,ς §αλάσ-σης, upon 
 the back of the sea, — or, more in 
 the English idiom, on the face of 
 the deep. An anonymous editor, 
 however, suspecting this verse to 
 
 be (in some part) incorrect, pro- 
 posed to read piy» χύμα-, instead 
 of «n rvToc, — else, retaining κοί- 
 τα, to substitute νγρα, for *Vi. 
 
 5. In this verse, the monosyl- 
 lable τις is lengthened before the 
 aspirate which follows. Baxter 
 and most others have vKtfa λευ- 
 
 κά», — in place of inrep %αΚα.σσα.ι. 
 
 6. χάραξβ, has carved or sculp- 
 ed: — Κύπρι», Cypris or Cypria or 
 Venus, newly sprung into exist- 
 ence (from the froth of the sea,) 
 near the island of Cyprus, — or, 
 according to Hesiod, of Cythera. 
 She was wafted to the strand by 
 the zephyrs, and received by the 
 seasons, — daughters of Jupiter 
 and Themis. 
 
 8. Here the first syllable of φύ- 
 σης is long — for although φόσ*ς 
 
130 
 
 Li. 9. Ανακρέοντος 
 
 9 
 
 ίο 
 
 11 
 12 
 13 
 14 
 15 
 16 
 
 Ό is νιν είειξε γυμ,να,ν, 
 % οσα, μη %ί[Λΐς όρα,σθα,ι, 
 μόνα, κΰμα, συγκαλύπτει. 
 Άλα,λημένη <Γ εττ άκτόί, 
 
 βρύον ως ΰπερθε λευκον 
 ά,πα,λοχροου γα,λψα,ς, 
 ϋμα,ς ες πλόον φέρουσα,, 
 ρίθιον πά,ροιθεν έλκει. 
 
 W w — w — w — — 
 ν/ ν» — ν ||~• ^ — ν 
 
 — i— •- 
 
 w w — wll — w — — 
 
 ν ν» — ^11— ν — w 
 w w — wll — ν ■* — 
 w w — wll — w — w 
 
 WW — wll — W — — 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 Ae 6 eSet'fe νιν γνμναν, και μόνα οσα μη S-e/us οράσ- 
 θαι, κύμα συγκαλύπτει. Δε αΧαΧήμενη εττι άκτα, ώ? 
 Χεύκον βρνον ύπέρθε άτταΧόχροου <ya\r)vas, φέρουσα 
 δέμας es• πλόον, εΧκει ρόθιον παροίθεν. 
 TRANSLATION. 
 
 And he has shewn her naked, and only whatever-parts 
 it is not fit should be seen, doth the wave conceal. 
 
 And roaming towards the shore, like a white sea-weed 
 upon the smooth-surfaced calm, she, bearing her form in 
 attitude-of-swimming, sweeps the billow from-before-her. 
 
 με»*, divided by the figure tmesis. 
 13. βρνον ως \evxov, as if it were 
 
 hath the penult more frequently- 
 short, yet it is not always so, the 
 word being sometimes (although 
 more rarely) written φνσις. 
 
 10. The final syllable of Sipis 
 may either be lengthened before 
 the aspirate which follows, — else 
 remain short, at option. 
 
 12. In lieu of άκτα, or as some 
 give it, ccxrrj,— the emendation of 
 Stephens,— several MSS. and edi- 
 tions have άυτα, — others again, 
 αντί. Dacier explained the sen- 
 tence, as follows, — avrri 3i [Ktiw- 
 f is] αλαλί^ανη \π\ [χί//χα] virtp^e ά- 
 πχλοχρόους γαλήνης, ως βρνο» λ€ν- 
 κο», (pipovact—ikc. Barnes took α- 
 XaA>jfccV>j ίπ» to mean, βτταλαλη- 
 
 white sea-moss, or, as a snowy sea- 
 weed, — but the simile is neither 
 appropriate nor elegant. 
 
 14. Such as like a comma after 
 λινχον, understand λά, or xpora>, 
 before ίτταλο^όον , — which last 
 word is the emendation of Ste- 
 phens, for άπα,λοχρόονς . Barnes 
 
 gave άττΆλόχροος γαλήνης. 
 
 15. U π\όον, in navigation or in 
 sailing, that is, in swimming. But 
 Venus was, oftenest, represented 
 making for the shore in an escal- 
 lop shell, or a boat of that form. 
 
 16. /ίόθιβ», the billow, or, surge : 
 but yet, the more usual accepta- 
 
ΤΗΙΟΤ ΜΕΛΗ. LI. 17. 
 
 131 
 
 17 
 
 18 
 19 
 20 
 21 
 22 
 23 
 24 
 25 
 26 
 
 'Ροδέων ΰπερθε μαζών, 
 απαλής ενερΟε δειρης, 
 μεηα κΰμα πρώτα τέμνει. 
 • Micro ν αύλακος δε Κυπρις, 
 ^κρίνον ως ίοις ελι%θεν, 
 Ι διαφαίνεται γαλ^να^. 
 \'Ύπερ αρηνρω δ' δγρΰνται 
 επϊ δελφίσιν γρρευταΊς, 
 [δολεροί νέον μέτωπον 
 *Ερος, "Ιμερος γελώντες. 
 
 V-» ν — >-» — «^ — — 
 
 V W — V — V» 
 
 ν w — *ΊΙ— ν 
 
 ν.» ν — ν — ^ — 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 'Τπερθε ρόμβων μαζών — ενερθε άπάλη? Βείρης — πρώτα 
 τέμνει μεηα κύμα. Δε Kvnrpis μέσον αύ\ακο$, ώ$ κρί- 
 νον εΚί'χθεν Lots, διαφαίνεται ηαΧήνας. Δε υττερ apyv- 
 ρω, έττι χορενταΐ9 ΒεΧφίσι, ογρννται^ ΒόΧεροι νέον με- 
 τώπον> 'Εροί,'Ίμεροε, γεΧώντεε. 
 
 TRANSLATION. 
 
 Above her rosy breasts, below her delicate neck, first she 
 cleaves the bulky surge. And Venus, in the midst of the 
 watery furrow, like a lily wrapt in violets, shines-through 
 the glassy-flood. 
 
 And over the silver, on dancing dolphins, ride, guileful 
 with juvenile forehead, Love, Desire, — laughing. 
 
 tion of this word is, " breaker," 
 or " wave dashing with noise and 
 with foam." 
 
 19. I consider κυρα, here to be 
 decidedly the accusative case af- 
 ter ripm, — but Baxter aud seve- 
 ral others take it to be the nomi- 
 native case before rtpm, the huge 
 wave cuts (or, divides as the inter- 
 section of two lines) her form first 
 (or chiefly') above the rosy breasts, 
 under the soft neck. 
 
 20. μέσον— supply the preposi- 
 
 tion uvoc, in or toward— the midst. 
 
 23. With the learned Busby I 
 take vvtp here ( out of composi- 
 tion) to govern the dative case : 
 but which it indeed very seldom 
 does. Many, however, will have 
 it tfcat νπερ in this verse proper- 
 ly belongs to ο%ο£*τα», and from 
 which it is divided by tmesis : love 
 and disport are borne in silver, — 
 that is, upon dolphins of silver. 
 
 25. In most MSS. and the ear- 
 ly editions, the reading is, ίολερό» 
 
132 ll 27. Ανακρέοντος 
 
 27 
 28 
 29 
 30 
 
 Χορός Ιγβύων δε κυρτός, 
 ετί κυμάτων κυβιστώ», 
 ΤΙα,φί'ής το ο-ώμα, παίζει^ 
 fact, νη%ετοΗ γελώ (rot,. 
 
 ^ \j — \^ 
 
 ν ν» — \s\ 
 
 \J ν — ν^ 
 
 w> \s — \j ι 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 Δξ. κυρτοί χόρον ιχθύων, κυ£ίστων kiri κυμάτων, παί- 
 ζ€ί το σώμα ΪΙάφίης-, ϊνα νήχεται γβΧώσα. 
 TRANSLATION. 
 
 And a winding train of fishes, voltiging upon the waves, 
 sports around the person of Paphia, — where she swims 
 smiling. 
 
 vqqv ptf όνων — which Stephens in- 
 deed suspected. Baxter changed 
 μερόπων into /x' ipa>rru)v, which he 
 rendered "amare nolentium," of 
 those unwilling to loce. According 
 to this lection (loXefbt νόσ* must be 
 the accusative case after the par- 
 ticiple yikuvtK;. I have followed 
 Barnes, — but (I confess) without 
 greatly approving of his conjec- 
 ture. Scaliger, again, has ίολίρό» 
 νόημ (ρωντων. 
 
 29. το σωμ.Λ, understand, ττρό,-, 
 beside or about. For to, many e- 
 ditions have Tt, — some with, and 
 others (indeed) withcmt κνζιστα, 
 
 for χυζιστων, — in the preceding 
 verse. With χν£ιστ&5ν, it is evi- 
 dent that τε is an error of some 
 copyist, or of the press. Barnes, 
 in lieu of το σώ/χα, exultingly a- 
 doptedj e? o^a, before the eye or 
 face, — the conjecture of Longe- 
 pierre. Few besides Barnes have 
 been charmed with ες όμμα. 
 
 30. Barnes says, that when Itot 
 is put for ottov, it delights in the 
 indicative mood, — as here : and 
 he states vr^srai to be assumed, 
 by systole, for ψίιχηται — quocum- 
 que natat ridens. Baxter's ver- 
 sion is, quo natet ridens. 
 
ΤΗΙΟΤ ΜΕΛΗ. LII. 1, 
 
 133 
 
 ΩΔΗ' NB'. 'Εις Τρυγητόν. 
 ΤΟ' Ν ^λανοχ /JcoTa βότρυν 
 ταλά,ροις φερουσιν άνδρες, 
 μ,ετν* παρθένων ίτ ωμών' 
 κ&τα, λψον δε βα,λόντες, 
 μ,άνον άρσενες ΐζα,τουσι 
 (ττα,φυλην, λύοντες όΐνον, 
 μέγα, τον §εον κροτουντες 
 ετίΚηνίοισιν ΰμνοις, 
 
 V/ \J - — 
 
 w» — w 
 
 *~> — W 
 
 V/ _ w 
 
 ^_/ _ ^, 
 
 ν ^ — ν> 
 
 V/ «-» — ν/ — 1^ — — 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 \4ι/δρ6? μέτα παρθένων φερούσι rakapovs knri ώμων 
 τον μεΧανοχρώτα βότρυν Be βα\όντ€ί κάτα Χήνον, 
 μόνον apatves πατούσι στάφυΚην, \υόντ€9 οίνον> — μέ- 
 <ya κροτούντεί τον ^eov ζπιΚ,ηνιοίσι, νμνοίί, 
 
 TRANSLATION. 
 
 ODE LII. On Vintage. 
 
 Men with maidens are-carrying in baskets upon their 
 shoulders the dark-hued cluster : and having-cast it into 
 the wine -press, only males tread the grape, releasing the 
 wine, loudly applauding the God with vindemial hymns, 
 
 1 . τον μελανόχρατα. βότρυν, the 
 dark-skinned cluster, — that is, the 
 
 dark or purple grapes. The first 
 measure of this verse is either a 
 choriambus or a paeon primus at 
 option : in other words, the first 
 three syllables form a dactyle — 
 instead of an anapaest ; and the 
 fourth syllable is, either long, or 
 short. The present Ode, like Ode 
 L, above, is a Vindemial Song or 
 Torcular Hymn, and was sung at 
 the wine-press with a sort of re- 
 verential awe and delight. 
 
 2. φίρουσι, are carrying, — the 
 emendation of Stephens, for the 
 vulgate φέροντες, by which Baxter 
 thought the poet meant οι φέρον- 
 τες, and that the right ordo is, hi 
 φέροντες μελανόχρωτα, βότρυν, ccr- 
 δρές iiai μετά, nctpQhuv. Barnes 
 was of the same sentiment. 
 
 4. This verse is a pure dime- 
 ter Ionic a minore,— the last syl- 
 lable being (very striotly speak- 
 ing) long by synapheia. 
 
 6. λΐΌκτίς, letting -loose, or, re- 
 leasing — the imprisoned juice. 
 
134 LIL 9. ANAKPEONTOS 
 
 9 
 10 
 
 11 
 
 12 
 
 13 
 
 14 
 
 15 
 
 16 
 
 17 
 
 έρν,τον πίΟοις όρώντες 
 νέον ες ζέοντσ, Βάκχου 
 ον οτα,ν iciy γερα,ώς, 
 τρομεροΐς irocrh χορεύει, 
 πολια,ς τρίγρς τινάσσων. 
 Ό δε πα,ρθένον λογ^ήοΌΐς 
 έρσ,τος νέος μεθυο-θεϊς, 
 άταλον δέμας γμθεΐο-αν 
 σκιερών ΰπερθε φυΚΚων, 
 
 WW — w — W — ν 
 
 WW — ν ||"~ w — w 
 
 ww — wll — W — \J 
 
 w ν/ — wll— w — — 
 
 w w — 
 
 WW — 
 
 ww — wll— V» — 
 
 ww — wll— w — 
 
 ww — w||— w — 
 
 w — — 
 w — — 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 6ρώντ€9 es νέον έρατον Βακγρν ζεόντα iridois* 6v 'όταν 
 yepaioi 71*67, χορεύει τρόμεροιε πόσι, τινάσσων ποΚια* 
 τρίχα*-. Δε 6 iparos νέο? μεθύσθεις, Χοχήσας- 7τάρ耕 
 νον γνθείσαν ατταΧον δέμα* ΰπερθε σκιερών φύΧλων, 
 TRANSLATION. 
 
 looking at the lovely young, k Bacchus mantling in casks : 
 which when an old-man hath-drank, he danceth with tot- 
 tering feet, shaking his hoary locks. 
 
 But the lovely youth made-mellow, having-surprised a 
 lass extended as to her delicate form on shadowy leaves, 
 
 9. ifurot may, here, be taken 
 either adverbially with the parti- 
 
 ciple ορωνπς, smirkingly looking 
 else adjectively as agreeing with 
 
 Βάκχον. 
 
 10. In place of Ίς ?«ορτα, some 
 contend for έκζίοντΛ, — nor badly. 
 The ancients, it is said, believed 
 ( as has been mentioned above, ) 
 that "the God Bacchus was pre- 
 sent at the vintage and the wine- 
 press, and that the fermentation 
 of the must was caused by his de- 
 scent into it, and subsequent di- 
 vine operation on it." 
 
 11. The more common lection 
 is ffUrj, — occasioning an Ionic a 
 
 minore, for the first foot, unlese 
 contrary to the general practice 
 the first syllable of πίνη be read 
 short, as in Ode xxv, verse 1, a- 
 bove. In the translation I have 
 rendered bv, as though its ante- 
 cedent were 6hov, wine — and not 
 Βακχον, Bacchus. 
 
 14. παξΰίνον, a virgin, a damsel, 
 a maid or lass, a young-woman. 
 
 15. For ρ.ϊθι/σθεκ, — the conjec- 
 ture of Stephens,— the primitive 
 reading was ελυσθίϊς, 'volutus vel 
 vertigine circumactus' whirled or 
 carried-round with giddiness. 
 
 17. σχΐίγών υττίρθι φύλλων, upon 
 shadowy leaves or sombre-foliage, 
 
ΤΗΙΟΤ ΜΕΛΗ. LII. 18. 
 
 135 
 
 18 
 
 19 
 20 
 21 
 22 
 23 
 24 
 
 βεξαρημενην ες ΰπνον, 
 ες ερωτ άωρα θέλγει 
 προδότιν γάμων γενέσθαι. 
 Ό δε μη λόγοκτι πείθων, 
 τότε μη %εΚουσαν άγχρι' 
 μετά, γαρ νέων ό Βάκχος 
 μεθύων άτακτα παίζει. 
 
 ν w — \* 
 
 ν/ ν — >-» 
 
 Ν* V/ — \J 
 
 \S W — V 
 
 W W — V-» 
 
 w w- w 
 
 V/ W — V 
 
 V> — w 
 
 «■/ — — 
 
 V — — 
 
 v/ — — 
 
 1/ _ _ 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 βεξαρήμενην €f υπνον, €s ερώτα αώρα ^re\yei γενέσ- 
 θαι πρόδοτιν γάμων. Δε 6 μη πείθων \ο<γοίσι 9 τότε 
 άηγει μη ^ε\ονσαν yap μέτα νέων 6 μέθυων Βάκγρε 
 παίζει, άτακτα. 
 
 TRANSLATION. 
 
 oppressed with sleep, unto love untimely woos her — to be- 
 come traitress of bridal -joys. But he, not persuading her 
 with words, then clasps her not willing : for with youths 
 the mellow Bacchus sports disorderly. 
 
 that is, on a thick layer of leaves 
 in some shady place. 
 19. The common lection is 6 }', 
 
 Ερως αωρΛ §ίλγω», amore verb in- 
 tempestive earn pelliciante,— which 
 with the context (full of partici- 
 ples) makes but very indifferent 
 sense. Faber thought that &λ- 
 yuv should be §ίλγ»ι, and Barnes 
 gave the verse as it now stands, 
 but for which he was ridiculed by 
 Baxter. Suidas says, αωρ a cVrt τά 
 πα(α τον χαιρο» τ ρυγωμν,α, — and 
 by πάρα το» καψ*, he means, wpo 
 το? χαιρον, before the season, that 
 Ϊ9, untimely or immature. Here «- 
 *>fu seems to be put adverbially, 
 and metaphorically, comparing a 
 
 tender virgin (nor indeed inapt- 
 ly,) to crude fruit. 
 
 20. γάμων, literally, of bridals^ 
 meaning, of bridal rights, or sim- 
 ply, in the sense of aifrovs irupQt- 
 tias, of virgin modesty or chastity. 
 With γάμων, may be understood 
 μελλόντων, future or coming. Da- 
 cier says the expression, προ3οτ»ς 
 γάμων, signifies, any female who 
 marries before she is ripe: not re- 
 jecting this signification, I think 
 the meaning is likewise, either a 
 female who loses her virginity δβ- 
 fore marriage ; or (rather,) an a- 
 dultress, that is, a traitress of the 
 marriage-bed, but which with aw«. 
 pa cannot be the meaning here. 
 
136 liii. ι. Ανακρέοντος 
 
 ϊ2ΔΗ λ NT. Έις 'PooV 
 Στεφανηφο'ρου μ,ετ *Hpog 
 μ,εΚπομα,ι ρ68ον %ερινόν 
 συ ο*, ετα,Ίρ , όίεξε μολπήν. 
 Ύό8ε γα,ρ §εών οίημα,, 
 το 8ε κα,) βροχών το χάρμα,, 
 Χάρισίν τ 9 οίγαλμ! εν ωρα,ις 
 πολυα,νθέων 'Ερώτων, 
 Άφρο8ίσιόν τ άθυρμα,. 
 
 w w — w — w — w 
 
 v/w- w — w — — 
 
 w w — w — w — v» 
 
 w w — w II— w — w 
 
 WW — w — w — — 
 
 ww — w — w — — 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 Mera στεφανήφορου 'Hpos μέΧττομαι ^epivov ρόΒον 
 Be συ, kraipe, αέξ€ μό\ττην. Γαρ roBe αήμα ^έων, ro- 
 Be και το γάρμα βρότων, re αηάΧμα Χάρισι ev ώραΐί 
 πο\νάνθ€ων Ερώτων, re ΑφροΒίσων άθυρμα. 
 
 TRANSLATION. 
 
 ODE LIII. On a Rose. 
 
 With garland- bearing Spring I sing the summer 
 Rose : and do thou, my comrade, swell the strain. 
 
 For this is the breath of the Gods. — this likewise is the 
 charm of mortals, and an embellishment to the Graces in 
 seasons of multifloral Loves, and a Venus's playthingc 
 
 2. Since the metre seems, in- 
 deed, to require a third paeon for 
 
 the first foot or measure, Baxter 
 (accommodatingly) took the first 
 syllable of μίληο^οϋ to be short ; 
 but he avoids allusion to τω σο- 
 φω, in verse 16, below. Barnes 
 changed Βψνύν, in the end of the 
 line, into Sipuov, unnecessarily. 
 
 3. Of this verse there are nu- 
 merous readings, — of which the 
 most ancient appears to be, <rvn- 
 ΤΛίρίΐά,όξα (AtXnut, — an expres- 
 
 sion not conveying any meaning, 
 at all. Scaliger offered oWraip', 
 ai£s /χ£λ7τειν, — and Stephens con- 
 jectured, avuhaipt ^ dD|» μολιτνν. 
 Heyne has avrirouf aefe ^βλττί». 
 Barnes, again, edited συν, haZf , 
 aifs μολπνν,— by tmesis for σνια\- 
 %€. Baxter contends for σννίται- 
 po\ icv£oi μ,ίλπιι*, accounting the 
 final -o» short in αύξοι. This Ode 
 was sung in Parts. 
 
 4. av/x», breath, or, exhalation : 
 or, it may mean, inhalation, that 
 
ΤΗΙΟΤ ΜΕΛΗ. LI II. 9. 
 
 137 
 
 9 
 
 10 
 11 
 12 
 13 
 14 
 15 
 16 
 
 Τ οίε κού μέλημα, Νύ/Αφα,ις 
 %&ρίεν φυτον τε Μουσών, 
 Τλυκύ κού ποιοΰντι πεΐρα,ν 
 εν άκα,νθίνα,ις ά,τ&ρποΊς. 
 Γλυκύ δ* άΰ λαβοντ/ %άλπειν 
 μα,λ&κα,ΐ<Γΐ %ερο~), κούφως 
 ΐΐροσάηοντ "Ερωτος άνθος. 
 Τω ο~οφω τοΚ άυτο τερπνόν. 
 
 SJ — w — \s 
 
 V — ν/ — <-» — — 
 ν^ — vll - ' ^ — «~» 
 ν/ — ν|| — \S — \J 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 
 ToSe και μέλημα Ννμφαίϊ, re χάριεν φύτον Μουσών. 
 Ι\ύκυ και ιτοίουντι ττείραν ev ακάνθιναις ατάριτοις. Ae 
 yXvKV αυ XclGovtl *&άλπ€ΐ>ν μάλακαίσν χέρσι, κούφως 
 ιτροσαηοντι άνθος Ερωτος. Τάδε αύτο τερπνόν τω σο- 
 TRANSLATION. 
 
 This, also, is a fancy to the Nymphs, — and the darling 
 plant of the Muses, 
 
 Sweet, likewise, to the traveller making trial in thorny 
 paths. And sweet again to one- having- taken it to fondle 
 with gentle hands, — lightly applying to the sense of smell 
 the flower of Love. This same is delightful to the sage, 
 
 is, an odour inhaled by the nostrils 
 with pleasurable sensation. 
 
 8. For Ννμ,φΛίς, to the Nymphs, 
 or to brides, most, if not all MSS. 
 have pvQois, to fables or to stories, 
 or, to the songs of the poets. Fa- 
 ber gave Νυμφών, which some e- 
 ditors have adopted. Baxter re- 
 tained (JivQoiS) in preference. 
 
 11. KCHovvn πεΐραν, to one mak- 
 ing trial, — that is, to one pursuing 
 his journey in the country, where 
 roses grow plenteously about the 
 hedgea, and in thorny brakes, be- 
 ing themselves (also) well armed 
 with thorns. 
 
 13. θάλπει/, to cherish or tofos• 
 
 ter, that is, to handle softly, — be- 
 cause roses, when roughly hand- 
 led, soon lose their beauty, and 
 in a great measure their scent. 
 
 14 — 15. κονφως προσάγοντί, un- 
 derstand pm, applying it (name- 
 ly, the rose,) gently to the nose or 
 nostrils. For κούφως, many read 
 κούφαΐΓ in agreement with χερσί. 
 
 16. τω σοφω, unto the wise man 
 or sage, meaning, perhaps, to the 
 poet or minstrel Some contend 
 for ως σοφω, — and others, again, 
 for ωσσοφω, but badly. Stephens 
 gave ορόφω, to a room or a dwell- 
 ing. Brunck has τω ψό<ρ&>, at a 
 revel or rout. 
 
138 LIIL 17. ANAKPE0NT02 
 
 17 
 18 
 19 
 20 
 21 
 22 
 2S 
 24 
 25 
 26 
 
 %αλίαις τε κα) τραπέζαις, 
 Αιονυσίοις &' έορταϊς. 
 Τ/ ο* άνευ po'Sov γένοιτ αν ; 
 *~Ρο$ο8άκτυλος μϊεν *Ή.ώς 9 
 ροδνπηγβες $ε Νύμφαι, 
 ροίόγρους $ε κ Άφρο/ίιτα 
 πάρα των σοφών καλείται. 
 Ύο8ε και νοσοΰσιν αρκεί, 
 τοδε κα) νεκροΐς άμύνει, 
 τί$ε κα) %povov βιάται. 
 
 W ν/ — w — ^ -. -. 
 
 w ν — ν _ w 
 
 w w — wll— w — w 
 
 ww — ΉΙ"* w — — 
 
 ww — wll — |> a» w 
 
 WW — wll— V — -■ 
 
 WW — wl — w — w 
 
 ww — wll— w — — 
 
 — II- — 
 
 ww — wl — w •— w 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 φω, re ^rakiais και τραπέζαιε, re Διονυσίου? ίόρταιί. Ae 
 ri av yevoLTO avev ρόΒου; Ήω$ μ€ν ροΒοΒάκτυ\ο?, Be 
 Ννμψαι ροδοπή^ε?, Be ΑφροΒίτα και κα\€ίται ρόΒο- 
 χρονε πάρα των σόφων, ToBe και άρκ€ΐ νοσούσΐ, τόδβ 
 και αμνν€ΐ νέκροις, και roBe βιάται γρόνον. 
 TRANSLATION. 
 
 and at banquets and at tables, and at Bacchanalian feasts. 
 And what enjoyment could there be without the Rose ? 
 
 Aurora indeed is rosy-fingered, and the Nymphs rosy- 
 armed, and Venus too is-called rosy-complexioned by the 
 wise. 
 
 This also relieves the sick, this too succours the dead, 
 and this masters time. 
 
 20. ροίοίακτι/λος, rosy-fingered, 
 an epithet applied to Aurora (or 
 the dawn of day,) by Homer and 
 most other poets. 
 
 21. ροδοπνχςίζ , having the/ore' 
 arms of a rosy-tint : — but some 
 have thought, that ρο^οπίχίΐς, in 
 this verse, and also (ονάγρους, in 
 the next, are employed with allu- 
 sion to the delicacy and the am- 
 brosial scent of the rose, rather 
 than to its color; forgetting per- 
 haps that there are white as well 
 
 as red roses, and that, of red ro- 
 ses, some are of a deep redness, 
 but others extremely faint. 
 
 23. πάρα rut σοφών, literally, by 
 the wise-ones, meaning, the bards 
 or poets. 
 
 25. vexpoTq kuvvti, assists or aids 
 the dead,— with reference to the 
 ancient custom (and which still 
 prevails in some places) of deck- 
 ing corpses with roses. 
 
 26. χρόνον βιάται, masters time t 
 that is, endures when time dies. 
 
ΤΗΙΟΤ ΜΕΛΗ. LIIL 27. 139 
 
 9Π 
 28 
 29 
 30 
 31 
 32 
 33 
 34! 
 35! 
 36; 
 37\ 
 
 Χα /j/sv /5ό5ων ίέ γήρας 
 νεοτητος εο~%εν o8/mjv. 
 Φέρε 8η φυην λεγω/&εν. 
 Χα,ροπης οτ εκ ^σΧάττης 
 $ε8ροο~ω/Λενψ Κυθψψ 
 ελοχευε Υίίντος άφρω, 
 πολεμοκλονον τ Άθψην 
 κορυφής είείκνυε Ζευς, 
 φο§ερο\ν %εα,ν Όλύα/πω, 
 τότε κυλ ροδών ονγητών 
 νέον ερνος ψθκτε Χθων, 
 
 yj V — w — \J — W 
 
 V V — W 
 V/ W — V» 
 
 ν/ w — V 
 
 νυ - ν 
 
 «./ ν — ν 
 
 ν» ν — ν> 
 
 V V — W 
 
 VW- W 
 
 \*» ν — ν 
 
 ν-> — vy 
 W — — 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 Ae yapiev <γηρα$ ρόδων έσγε όδμην νεοτήτο$. Φέρε Βη 
 \€>γωμ€ν φύην. "Ore etc yapoir^s ^αλάττηε Hovros €° 
 λοχευβ Κυθήρην Βεδροσώμενην άψρω, re Zevs κορυφής 
 eBeitcvve ττο\ςμόκ\ονον Αθήνην, φό@€ραν *&έαν 0\ύμ- 
 7τω, τότε και Χθων ήνθίσβ νέον epvos αγήτων ρόδων, 
 TRANSLATION. 
 
 And the grateful old-age of Roses possesses the odour of 
 youth. Come, then, tell-we the origin. — 
 
 When, from the glad sea, Ocean brought-forth Cythe- 
 ra bedewed with foam ; and Jove, from his-head, display- 
 ed war-sounding Minerva, a startling sight to Olympus, 
 then, also, the Earth budded a new stock of mirific roses, 
 
 29. φν\ν, the nature or descent. 
 
 30. The best editions have $<*- 
 λάττη?, in the Attic manner, — o- 
 thers, θαλάσσης. This verse may 
 be freely translated, — when from 
 his glad waters. 
 
 32. !λοχίϋ£ Πόντο; , the ocean or 
 the deep br ought -forth, or, produ- 
 ced: here Πόντο? is personified. 
 
 34. χ.οξυφγ,ς,— understand w, of 
 ox from, or from out of. 
 
 35. Barnes (from the Vatican 
 MS.) restored this verse, which 
 had been a long time wanting in 
 editions. In place of Βεα,ν, sight 
 or spectacle, some (but most ab- 
 surdly,) have proposed to read, 
 Seav, goddess or divinity. 
 
 37. epos, a shoot or scton, a twig 
 or branch : — in lieu of ψθισε, se- 
 veral MSS., as well as editions, 
 have rjvQria-t. 
 
140 LIIL 38. ΑΝΑΚΡΕΟΝΤΟΣ 
 
 38 
 39 
 40 
 41 
 42 
 43 
 
 πολνίαίδαλον λόχ^υ^α. 
 Μα,κάρων %εών $' όμιλος, 
 piSov ως γένοιτο, νέκταρ 
 έπιτέγξα,ς, ά,νέτειλεν 
 ά/γέρωγρν εξ άκάνθης 
 φυτον α,μξροτον Αυ&ίου. 
 
 \J ν/ — s^ 
 
 ss vs — vs 
 
 W V - ν 
 
 w w — • — 
 
 ν/ ν/ — w 
 
 V V» — W 
 
 - ν - «/ 
 
 - ν - ν» 
 
 - »»/ — W 
 
 \«/ ^ — w 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 
 πολυδαίδαλο ζ/ Χοχβύμα. Ae ομίΧοί μάκαρων *&€ων, ώί 
 
 pohov γένοιτο, €πιτέ<γξα$ νέκταρ, avereiXe εξ ακάνθης 
 
 αγερώγον άμ£ροτον φυτον Λυαίον. 
 
 TRANSLATION. 
 
 an exquisitely-curious parturition. And the conclave of 
 blessed Gods, that the Rose might come-into-being, hav- 
 ing-sprinkled on it nectar, made- spring from the thorn, 
 that proud immortal plant of Bacchus. 
 
 38. ποΚνδα,&αλον λόχΕίγχα, very 
 literally, a production or a birth 
 
 of much art or ingenuity. 
 
 40. poctov ως yivono, to-the-end- 
 that the rose might be, — or might 
 spring into existence:— νέκταρ, the 
 drink of Gods, — which according 
 to Homer was of a red or ruddy 
 colour, — and hence the red tint 
 of roses, as well as their ambro- 
 sia-like smell. 
 
 42. αγίρωχον, proud, — with al- 
 lusion to the splendor and gau- 
 diness of the rose. 
 
 43. αμξροτον, immortal or ever- 
 lasting,— divine or heavenly,— be- 
 cause the (genuine) offspring of 
 celestial nectar. Among the an- 
 cients, the Rose was the symbol 
 or emblem of immortality, — and 
 the victor of time : — hence, in 
 verse 26 above, vpotw βία,ται. 
 
ΤΗΙΟΤ ΜΕΛΗ. LIV. 1 
 
 141 
 
 ΏΔΕΤ ΝΔ'. 'Εις 'Εαυτόν 
 
 "ΟΤ εγώ ν ^ ων νάιλον 
 εο~ορώ, πάρεστιν Ή£α. 
 Τότε δη, τότ ες γρρείψ 
 6 γέρων εγώ πτεροΰμαι. 
 ΤΙερίμεινόν μ,ε, Κζ^βα, 
 ρόδα, $ός• §έλω στέφεσθα,ι. 
 ΤΙολιον δε γήρας εκά\ς* 
 νέος εν νέοις <χρρεύ(τω. 
 
 ν/ ν — \s 
 
 \j w — w 
 
 \J V — \J 
 
 — »»»—%/ 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 "Ore εγω έσορω δμί\ον νέων, e 'H§a παρέστί. Tore 
 δη, rare €γα> 6 γέρων τττβρονμαί es χορβίην. ΤΙεριμεί- 
 νον μ€, Κν£ή£α, 60s poSer ^ελω στεφέσθαι. Ae ττόΧιου 
 γήραϊ 'έκα$• veos ev veois γρρβύσω. 
 
 TRANSLATION. 
 
 ODE LIV. On Himself. 
 
 When- that I look-upon a company of young-men, 
 Youth is-present-zwVA me. Then indeed, then, I the old- 
 man am-winged for a dance. Wait-on me, Cybele, give 
 me roses : I wish to crown-myself. 
 
 But, hoary old-age, away-with-thee to-a-distance: — a 
 youth amid youths I will dance. 
 
 1. Baxter's reading is, or* lya> 
 ι/ίοι; ο/χιλω, ιαορων νίριστιν'Ίΐζ», 
 bad and ungrammatical, — unless 
 
 "Ήζα can be shewn to have been 
 ever masculine : his translation 
 is, " iibi tgo cumjuvenibus versor, 
 ios intuens protinus adest Juven- 
 ilis." Another reading is *«oii o- 
 
 μιλονν, t σορών. 
 
 9. For Κϋβί£α, CybSb'e, or, C#- 
 bel'e, — the name (no doubt) of 
 some waiting- woman, many edi- 
 
 tions have συνί&α,, wax -young 'α- 
 ραιή- with, — or simply, be young 
 with, — that is, sport youthfully in 
 company with,— addressed to the 
 waiter, else to some other indivi- 
 dual present. 
 
 6. po^et $ος, give thou me roses, 
 the emendation of Stephens, for 
 παρχδος , give thou me, or give up 
 tome. 
 
 7. εκας, out, that is, avaunt or 
 away with-thee : but Baxter and 
 
142 liv. 9. Ανακρέοντος 
 
 9 
 10 
 11 
 12 
 13 
 14 
 
 Aiovvtrlyjg Si μ,οι τις 
 φερέτω ροιο\ν οπώρης, 
 ίν i$yj γέροντος άλκην, 
 δεδ&ηκό'τος μεν ειπείν, 
 $ε8α/ηκότος δε χίνειν, 
 γρ,ριεντως τε {Aavyjvou. 
 
 ν - ν- 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 Ae TLf φέρςτω μ,οι ροίαν Δίονύσιης οπώρηϊ, ϊνα ιδ*7 ^λ- 
 κην τ βρόντο?, 8εΒαήκοτο9 μβν efceiv, δεδα^/τοτο* δε 7rt- 
 V6iv f τε %api€VT<us μανήναι. 
 
 TRANSLATION. 
 
 A nd let some-one bring to me a draught of Dionysian 
 autumnal, that he may see the vigour of an old-man, skil- 
 led indeed to sing, r— skilled also to drink, and gracefully 
 to play-the-fool. 
 
 Barnes have ηκας, — which they 
 translate — sending-away or dis- 
 missing, — that is, casting off: it is 
 very questionable, however, whe- 
 ther this participle ηκας was ever 
 in use among the Greeks. 
 
 10. potuv όπωρης, very literally, 
 a pomegranate of autumn : Αιονυ- 
 σ'νης οπύιρς, of Dionysian autumn, 
 or, of autumn-time that happy sea- 
 son more immediately belonging to 
 Bacchus. Many critics, however, 
 have objected to this acceptation 
 of the words, — maintaining that 
 ροκ* is (often) usurped for ροκ or 
 port, liquor or fluid; and that Όπω- 
 pu frequently signifies (as in Ode 
 L, verse 8, above,) autumnal fruit, 
 as well as, autumn. With these 
 
 I agree, — but if any one prefers, 
 " bring me a pomegranate of Dio- 
 nysian autumn," there is nothing 
 to hinder him. For potar, Barnes 
 edited Svpov, from conjecture. In 
 most MSS. and likewise the early 
 editions the reading is, ροια» απ 
 οπώρη?. 
 
 12. iitrur, literally, to talk, or, 
 to speak, — which, as old men are 
 generally garrulous, especially in 
 their cups, might he the intended 
 meaning here,— but at the same 
 time it is well known, that both 
 \iyuv, to say or tell, and όπι<ν, to 
 speak or say, are often usurped for 
 ctiihiv or ahiv, to sing,—&na here 
 indeed the context warrants thie 
 interpretation of «wr. 
 
ΤΗΙΟΤ ΜΕΛΗ. LV. 1, 
 
 143 
 
 \j -» \* ■"ll v *" w 
 
 yj mm \J -m\\sU — \J 
 
 — — V — lis/ — v/ 
 
 — -Il•— 
 
 ss — \s — Π ν — ^ 
 
 ν — ^ "il^ "* ^ 
 
 ^ — v/ — llw — iv/ 
 L-|v 
 
 'φΔίΓ NE'. Έ/$ Έ/)ώι/τα$. 
 
 1 ΈΝ ϊο-%Ιοις μεν ίπποι 
 
 2 πυρός γ/ίραγμ.' ε%ουο~Γ 
 
 5 κού ΙΙα,ρθίονς τις οΧνδρ&ς 
 4 εγνώρκτεν τιάρα,ις. 
 5' Έγώ Se τους ερώντκς 
 
 6 Ιίών επ'κΓτα,μ ευθύς' 
 7; ε%ουαΊ <γάρ τι λεπτον 
 8 ψνγ/ης εσω %ά/3αγ^α. 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 "Ιπποι μβν ζγρύσι γαράημα πύρο: ev ίσγιοΐΓ και τα 
 βηνώρισ* Πάρθιουί avtpas Ttapais. Ae €γω επίστα- 
 μαι τόνε epaovras €υθν$ ίοων yap εχούσι τι Χέπτον 
 •χαίράημα ψυχής έσω. 
 
 TRANSLATION. 
 
 ODE. LV. On Lovers. 
 
 Horses in-troth have a print of fire upon their haun- 
 ches: and any -one may know Parthian men by their tur- 
 bans. 
 
 But I know lovers immediately upon seeing them : — for 
 they have a certain delicate impression of soul within. 
 
 2. πυρός χάραγμα, a print or a 
 stamp of fire, — but this print or 
 mark, whatever some horses may 
 have, does not seem to be well de- 
 lined, nor indeed existent, in all 
 
 But the ass is invariably mark- 
 ed with a black streak — on each 
 shoulder ; and no other animal in 
 all nature (perhaps) is more u- 
 niformly marked. 
 
 3. ΠαρΜουι αν$ρας % freely, men 
 o/Parthia. That the Parthians 
 were known to the Greeks, long 
 before Anacreon s time, is suffi- 
 
 ciently proved by the writings of 
 Herodotus and other historians. 
 
 4. ϊγνώρισί, hath known or re- 
 cognized, and consequently, may 
 know, again: — riapais, by their ti- 
 aras. The tiara was a peculiar 
 head-dress differing in some re- 
 spect from the modern turban of 
 the Turks,— and yet, in a great 
 measure, resembling it. 
 
 8. ψυχ*5< eaa> χάραγμα, an im* 
 pression of soul within, easily dis- 
 coverable in the eyes, those win» 
 dows of the mind. 
 
144 lvl ι. Ανακρέοντος 
 
 ΪΙΔίΓ ϋς. 'Εις Εαυτόν 
 
 ljj ΠΟΛΙΟΙ μενη/Μνή&η 
 
 2. κρόταφοι, κάρα 8ε λευκόν 
 3,. ( χ ) αρίεσ•οτα.^ ουκ iff Ή ft; 
 4 itapa, yyjpaXioi ί' οδόντες* 
 5 ^γλυκερού 8* ουκ ετι πολλος 
 β^βιοτου χρόνος λέλειπται. 
 7|| Δ/α ταυτ άνασταλάζω 
 8ΐι&α^α Ύάρταρον 8ε8οικώς. 
 
 SU - ν/ - - 
 
 V» W — \^ 
 
 w ν» - W - 
 
 THE ORDER, AND ENGLISH ACCENTUATION- 
 ' Ηδη ττόΧιοι μεν ημιν κρόταφοι^ Be Χεύκον κάρα' Be 
 χαριίσσα "Η€η ουκ έτι πάρα, Be oBovtcs <γηρά\€θΐ' Be 
 yXvtcepov βίοτου iroXKos χρόνο? ουκ en \e\e'anai. — 
 Δία ταύτα *&άμα αναστάΧάζω BcBolkcus Τάρταρον. 
 
 TRANSLATION. 
 
 ODE LVI. On Himself. 
 
 Now grey, indeed, to us our temples, — and hoary our 
 head : and grateful Youth is no longer present, — but the 
 teeth waxen -old : and of sweet life much duration is not 
 any-longer left-remaining. For these-reasons I often let- 
 fail-the-tear, terrified-at Tartarus. 
 
 pta-Ti, is present : — γυραλίο», old 
 or worn-out : the last two sylla- 
 bles of this word are drawn into 
 one as in Άί&«, — and again in 
 άργαλίΥ), verses 9 and 10, below. 
 5 — 6. γλνκιρου βιότον, of sweet 
 life ; for life, indeed, is sweet to 
 
 1. Barnes has ip~>>, against the 
 metre ; and Baxter, η/*» — by ύ- 
 ιτίρζ&ασμ,ω tou τό»ου, — as he calls 
 it. The true orthography is i- 
 /-ur, with the final syllable short, 
 as in £/*!», Ode xxiv, verse 6. 
 
 2. For κάρα, some few give χά- 
 ρη for the sake of the metre, but 
 unnecessarily ; because the final 
 syllable of «άρα is common. Yet 
 Homer has xapr> more than once, 
 as if by apocope for xapntot. 
 
 4. vapat— contractedly for wa- 
 
 the last, although old-age gene- 
 rally robs it of every pleasure, — 
 except barely that of living. 
 
 7. Most MSS. and also editions 
 have ΛνασταΧύζω, — in the room 
 of which, Baxter conjectured i- 
 
TH10T ΜΕΛΗ. LVL 9. 145 
 
 9 
 10 
 11 
 12 
 
 Άΐδεω yap έστι δεινός 
 {Λΐ%ος, o\pyaXiyj <5' ες άυτον 
 κάθοδος, και γό\ρ ετοιμ,ον 
 
 <J — V/ - ν — \β 
 WW- ^ΙΙ™ ν ■- ν 
 V- Μ — *"|| ν V — V/ 
 
 THE ORDER, AND ENGLISH ACCENTUATION. 
 Γαρ Seivos εστί μνχο$ "ΑϊΖεω, Be αρηά\εη κάθοδος es 
 αντον, και yap μη αναξήναι ετοίμον καταξάντι. 
 TRANSLATION. 
 
 For dismal is the dungeon of Pluto, and precipitous the 
 descent into it, and in-troth " not to ascend " prepared 
 for any-one-having-gone-down. 
 
 νασταίάζώ, J loudly groan. Scali- 
 ger and Grotius contend for αλα- 
 στΛ λνζω, I sob grievously. 
 
 9. 'a$iw, of Hades or of Pluto : 
 here the initial diphthong at- is 
 resolved by dialysis,— and the fi- 
 nal -ha contracted into one syl- 
 lable by synseresis. 
 
 10. μνχος, literally, the recess, 
 or den, — freely, the ghomy prison, 
 or, sequestrate abode : — α,ργαλίν), 
 painful, vexatious, steep, distress- 
 ing. The metre (it may be seen) 
 requires άργαλέ^ to be a trisylla- 
 ble, — the last two vowels of the 
 word being, in the pronunciation 
 contracted into one syllable. 
 
 11. eroipov, ready, or, prepared; 
 that is, certain, destinate, or, pro- 
 vided: this adjective, being in the 
 neuter gender, cannot of course, 
 
 have μυχός, — nor yet κάθοδο?, for 
 its substantive; but it agrees ei- 
 ther with %ρ νμοι understood; else 
 with av«G,r>va,i, taken substantive- 
 ly. Baxter says the ordo is, nut 
 yap μ,η erotpov xotrafoaVTi ocvcc^r,- 
 von, siquidem proclive non est de- 
 scendenti iteriim ascender e, — but 
 Barnes gives the sense to be, c pa- 
 ratum est descendonti non ascen- 
 dere.' The strictly literal English 
 is, and for ready to a person gone- 
 down not to come-up, — that is, the 
 non-ascent is sure,— -or, the re-as- 
 cent is impracticable. 
 
 12. 'vabrjvett, by aphseresis, for 
 άναβαν»» : but in the present in- 
 stance this figure of prosody may 
 be dispensed with,— since μη can 
 coalesce (properly enough) with 
 the initial « of kvo&wm. 
 
 END. 
 
SYNOPSIS 
 
 OF THE 
 
 METRES OF ANACREOl•? 
 
 In the Address to the Reader, at the beginning of this Volume, 
 it is asserted, that the Metres of Anacreon are reducible to Four 
 Species : — 
 
 I. Dimeter Iambic Catalectic ; in which metre there occur 
 
 Twenty Four Odes. 
 II. Dimeter Antispastic Acatalectic; in which metre there 
 are Twenty Eiyht Odes. 
 
 III. Dimeter Antispastic Catalectic ; in which metre there 
 
 are Three Odes. And 
 
 IV. Trimeter Dactylic Acatalectic; in which metre there 
 
 is One Ode. 
 
 I. Dimeter Iambic Catalectic 
 
 A Dimeter Iambic Catalectic Verse consists of three feet and a 
 half, — whereof the first may be either an iambus or a spondee ; but 
 the second and third should be iambuses ; and the remaining sylla- 
 ble may be long or short at pleasure. Even in the second and third 
 place a spondee is occasionally (though indeed very rarely) admit- 
 ted, — but never in both those places in the same verse. As the 
 arsis or metrical ictus is on the last syllable of each foot, it should 
 fall as often as possible upon the final syllable of a word, but there 
 are some verses in which this cannot be effected. 
 
 Since, in Iambic Compositions, two feet are always called a Metre 
 or a Measure, it follows that three feet and a half are equal to two 
 Measures, wanting one syllable or half a foot ; that is, the verse is 
 Dimeter Catalectic. 
 
 The following is the form of a Dimeter Iambic Catalectic Verse, 
 as it more frequently occurs :— 
 
 Whereby it may be seen, that this Species of Verse consists of an 
 iambic syzygy followed by a bacchius or amphibrach; else of a third 
 epitrite followed in like manner. But sometimes an anapaest is ad- 
 mitted in the first foot. 
 
 The twenty-four Odes in this Metre are, 1, 2, 9, 10, 11, 12, 13, 
 14, 15, 16, 17, 18, 19, 20, 23, 25, 26, 31, 32, 33, 35, 40, 47, and 55. In 
 
SYNOPSIS OF THE 
 
 147 
 
 only two of these is an anapaest found in the first foot, namely, once 
 in Ode 25, and three times in Ode 26. 
 
 II. Dimeter Antispastic Acatalectic. 
 
 A Dimeter Antispastic Acatalectic Verse, when pure, consists of 
 two antispasts, that is, of an iambus and a trochee, twice in succes- 
 sion : but as sense verses of this description would, on almost any 
 subject be exceedingly difficult of construction, various other feet 
 equal, or nearly equal, in time to an antispast are admitted both in 
 the first and second Measure. 
 
 Sometimes a Dimeter Antispastic Acatalectic Verse is of a cha- 
 racter so nearly approaching in rhythm to Dimeter Iambic Catalec- 
 tic, that the verse may be scanned indifferently either way ; or as a 
 Dimeter Trochaic Acatalectic, with a pyrrhic instead of a trochee for 
 the first foot. Sometimes, again, though the second Measure pre- 
 serve this trochaic form, — yet the first Measure is of a character 
 that excludes the verse from the Iambic system. 
 
 Fifteen of the Odes of Anacreon come (without the slightest de- 
 viation) under the first head, the formula of the verse being : — 
 
 They may therefore be scanned as Dimeter Iambic Catalectic; thus, 
 w « _'|w -'l|« -| « — β ΐ δβ as Dimeter Trochaic Acatalectic ; with a pyrrhic 
 for the first foot; thus, ««)-' «||- "\-'a. . The fifteen Odes alluded 
 to, are, 3, 4, 7, 8, 21, 28, 43, 44, 45, 46, 48, 49, 50, 51, and 54, to which 
 several others, indeed, with only here and there a very slight irre- 
 gularity in the first measure, might be added. 
 
 The following is a Table of Feet admitted by Anacreon into this 
 verse :— 
 
 ν \j - « ι 
 
 From which it is evident, that, although Dimeter Antispastic Acuta* 
 
148 METRES OF ANACREON. 
 
 lectic be a general name for all these verses, yet many of them may 
 be scanned in various other ways. And it is worthy of notice that 
 the last syllable save one, of every verse in the Scheme, is., without 
 exception, long. 
 
 The twenty-eight Odes in this Metre are the fifteen already na- 
 med, and Odes 5, 6, 22, 24•, 29, 36, 37, 39, 41, 42, 52, 53, and 56. 
 
 III. Dimeter Antispastic Catalectic 
 A Dimeter Antispastic Catalectic Pherecratian Verse consists of 
 an antispast (or, indeed, any foot admissible in the first measure of 
 a Dimeter Antispastic Acatalectic Verse) followed by a bacchius or 
 an amphibrach. 
 The following are the feet found in Anacreon ;— 
 
 Of this species of verse are Odes 27, 34, and 38; but it is clear that 
 any Dimeter Iambic Catalectic verse may be scanned preoisely in the 
 same manner. 
 
 IV. Trimeter Dactylic Acatalectic. 
 
 A Trimeter Dactylic Acatalectic Verse consists of a spondee fol- 
 lowed by two dactyles, as in Ode 30, the only Ode which Anacreon 
 has given in this metre : — 
 
 It is likewise scanned as Dimeter Choriambic Interposite, thus : — 
 
 ■B — 1| 
 
 - - WW -I w w 
 
 FINia 
 
 wis 
 
♦ * v ** 
 
 ■:w. 
 
 ♦ «? ' 
 
 
 
 ... ν^•/; 
 
 ν 
 
 ". "ο V* 
 
 ,* V ..l•^.*. ~*_ C U ' .«J^!. °o .,* 
 
 

 V. *•-•' <ν 
 
 V , * • °. c> 
 
 •ο > * « » 
 
 
 Λ * «... ■*> 
 
 V"^ 
 
 Φ*. 
 
 : /% lip /\ l W?K^ % 
 
 
 
 ν 
 
 ν' o^V'Sw•* ^ 
 
 

 ■ ■ ■ 
 
 ^^M 
 
 .;, Ι,,.-.'λ'Ιι.*^• 1 ^ 
 
 t .5 1 
 
 I 
 
 ■ ■ 
 
 
 
 .fiWPI 1 
 
 ■