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Heinec. Fund. Stili cult. p. 22. Ed. Geln. Ex omni; the ellipfis of hoinine, or viro, is harth. Aliquod boni thould be aliquod bonum, or aliquid boni. Terent. And. I. 5. 15. "Aliquid monftri alunt.” On which Donatus remarks: “ Duplex contunelia et monstri, et aliquid: minus enim effet aliquod monftrum.” Further examples are unnecessary.
The poems are thirty-one in numher. Our examination of them will be rather minute ; but many of our objections are to be considered as relating more to subjects of general taite, than to points which may he decided by authority.
ODE I. The Wish. This ode, of which the verses are Tambici dimetri cataleEtáci, is writien in praise of an elegant me. diocrity, and seems to flow from a mind devoted to literary pur. suits. Is there any authority for supers, for supexs, in ver. 3? We know that tOZES and Beadsis are common, but do not remember ευρεις.
II. TO A Rose. A pretty little ode, of which the metre is the same as that of the last. The Garland of Prior probably fuggested the subject.
The conclufion has fome little resemblance to a beautiful speech of Deianira, in the Trachiniæ of Sophocles, V. 553, which Franklin has thus translated :
“ Her youth is stealing onward to its prime,
Will turn aside. These verses would be much improved by the removal of the pause after Bios, in V. 4.
III. The last line of the couplets on Paupertas, Plutus, and Miediocritas is obscure. It spywy be used for xpopatww, we imagine it is without authoriiy.
IV. A pathetic ODE, on the deaih of a young man, written in a variety of measures.
V, 5. Kot To Expoin dedudub. The Trochæus, in prima lede, is unusual, as it changes the verre froin an Iambicus dim. catal, into a Choriambus dim. catal. In Anacreon, however, we find, Ode 18,
TWTEDEW8 75 pasa. And Keo Xapóles 982 Woos. It should not, however, be iinita'ed. Ti is never long: Hom. 1, 2. 80. Anda To Moo Tull ndos, &c.
V.7. Kar Men Tove To 1Mpx TETTOL@ns. The Veríus Paræmiacus feldom if ever occurs, except in the Anapeltic leries, and it is introduced here after Iambics, very inclegantly and in harmoniouns. In the 20 and 3d Book of Boethius, Conf. Piil. we find systems of Paræmiaci, but they are not interinixed, temere, with other verses.
y. 8. We do not remember any authority for Quveolos in Iambic poetry.
14. ITECEV, W TEJEY, WOTED EV Qypois
Ileo svarbos turity a polpw. An imitation of Virgil, En. ix. 43.
• Purpureus veluti cum Hos succisus aratro
16. To de garda COOV O F Nupas, &c. Why is not the vowel in de cut off? It produces an hiatus, very harsh and disagreeable to the ear. It may be defended, perhaps, as a point of authority; but surely it is an instance of false tatto. Examples of the same kind occur very frequently in these poems; and as we cannot approve, we shall point them out, as obi-ets for the Author's correction in a future edition.
V. The metre of this poem is the same as that of the first. The verses are fecble, and incorrect. There is little to commend but the spirit of friendthip, which appears to have given birth to this addre's to Brifiel Vell.
6. To supov OYUE125. TY1E1%, we believe, does not occur in Anacreon ; nor can the firit fyllable be long. Aur. Carm. Pythag. 32.
Ουδ' υγιεινης της περι σωμ' αμελειαν εχειν χρη. 7. QEVOS -- 2 Tava HEV DE1995. Diglus-cui hæc volueris, We suspect this to be a Latinisin.
9. tw for made for télp. This usage of o, n, To, for ode, &c. occurs very frequently in these poems. We find it, indeed, in the lonic writers, and sometimes in the Attic, but we cannot commend it in modern productions; and with respect to the present instance, we recollect no example of it in Anacreon.
12. 2EXCIV EUX0.5, effundunt vota. Is not this a Latinito?
15. avenon ode. 20. rock ou 668. We remember no authority for these hiatus in Anacreon.
VI. This Ode, on the death of the mo:ber of a friend, is pleasing and pathetic. The metrical combinations are harmonious. In V. 12. however, we find touro for të?015; and in V. 16. Tours LIV apsans peixou, is a Latinism. Ein with a genitive case denoits the person, cui fervimus, gratias debemus, adbaremus, or, cujus verbis adducimur. It fignifies also pofleflion, or duty, and in the latter fense topos is unde: stood. See Hoogeveen on Vigerus, p. 200.
VII. An Ode, in the Anacreontic measure, addressed to a friend, who is muficæ peritissimus. In V. i. and 23. we find the first syllable of pinos long. Homer, and some of the lonic writers, lengthen it; but Anacreon fays, Ode 23,
Ejecis QiRoss GUVELVOI. And Ode 33, Eu pusy dinin Xehdww,
In V. 3. and V. 9, we wish that the disagreeable hiatus were removed; besides, 01, if it be not cut off, is short before st'. V. 10. KaxacuEVOLIO Waddenv. The final , thould be long before . Examples occur in every page of the Greek poets. V. 13. Eiv ax 8 ET' woiv. This Tmesis is awkward ; and, if it be defenfible, should not be imitated. V. 22. We recollect no authority for this usage of owvely. Anacreon applies 20 delv to inanimate things :
Λαλον πιονίες υτωρ. To which we may add the lymphae loquaces of Horace. We find, however, in Matthew, xxiv. 31. Meta cantigos pwrms usa gulns.
VIII. A poem in trimeter lambics, addressed to Hope. V.2. An lambic without a cesural pause. There are several examples of this kind in these poems. Let it be remembered, however, that if Eschylus admit such lines, they occur very rarely in So-. phocles, and should therefore be ftudiously avoided by a modern writer. V. gi oula tnha xol Trep. Kæv Tep should begin the sentence, or be disjoined. Homer. Il. A. 217.
Και μαλα περ θυμο κεχoλωμενον. V. 14. Elnden Banne. Banaw is used with a dative of the instrument; but Bannelv ev Gupses, and ev opern, which are very common in Homer, signify in animo cogitare. Es olnbos, or sy clnlct would have been better, as Odyff. X.
Kau TOC PEU EV T Up Banne, an elegant mode of Greek construction, which has been frequently and acutely explained by Dr. Clark, in his Notes on Homer and Cæsar.
IX. This Oje, in the Anacreontic metre, is easy, light, and harmonious. It is addressed to the rustic inhabitants of a mountain, against which a Exotos, or thooting mark had been placed; and may be considered as an happy imitation of the Teian bard. In V. 3. we dislike per cos; and fancy that Ev aderv, for Ex Tu adeo is unauthorized.
X. An Address to Silence. It is portical, but does not ap. pear to be finished. The two last lines are introduced abruptly.
3. IIpotes:0w xalan daxluzov. · Is there any authority for two accusatives after oporbenoo? If the fyntax be θεισα δακλυλον προς χειλη, or if προς be undertood, we think it exceptionable.
4. If we might venture to propose an alteration, we would read s, instead of as.
8. Movs 9€ Trupyos 8o7; vel fola turris est ?
Does Movos ever signify folitary when applied to things inania mate? 12. – 7.07!!cooler cypers. A short vowel, at the end of a
word, is made long, if the following word begin with £, and
Euripides Iphig. in Aul. 1143.
Leeds, de Ancip. Vocal. Edit. Bowyer. és Vocalis brevis, ante duas consonantes, quarum prior eft erg semper longa eft, ut Callim. H. in Dian. 125.
« Κτηνεα φιν λοιμος καλαβησέlαι, εργα δε παχνη. “ Ubi scholiastes negat ocu legi poffe, quia tum a foret producta.”
Dawes, in his Annotations on Terentianus Maurus, who has established this rule with respect to Latin poetry says : “ Illud porro monendum est, hanc ampı Gelov, quæ apud Græcos perpetua eft, apud Latinos, non nifi poft Lucretii tempora obtinuifie." Misc. Crit. p. 6.
The learned Burgess, whose note on this passage deserves an attentive perusal, says, “ Atque iftam vim inceptivæ literæ , cum certis consonantibus conjunctæ, Græcis fortasse omnibus concedere licet : Latinis item non æquè tutum erat.” P. 34 3.
We shall not, in this place, examine the truth of this rule, with regard to the poetry of the Romans; but as to the Greeks, we find it settled by Grammarians and Critics, and confirmed by the usage of the best Poets, “ Quos penes arbitrium eft." We, therefore, most earnestly recommend a rigid attention to this law of prosody. Let no Poet, who is emulous of reputation, infringe it, in his lambics, his Heroics, or his Lyric compositions !
XI. The Poet to his Lyre. An Anacreontic Ode.
In the fourth verse Qinou eupevecs difturbs our ears; and in 7th and 15th lines, the Amphimacer, in the first foot, appears to us very diffonant, if not unwarrantable. In the few examples which Anacreon affords, we suspect the text to be corrupted; and his forty-firit Ode must not be considered as an authority for this licence, as it confifts wholly of Trochaici dimetri acataleEtici. In verse 7. we cannot make the first foot an Anapasus, as 12, we believe, is never short; though, perhaps, it may be a Dactyl, as the second syllable of Avaz pewr is not necessarily long. In V. 15. we are aware, that the first tyllable in aquatwy may be made short, by the authority which Toup has produced, in his controversy with Heath, and from a verse in the Trachinize of Sophocles * ; but the ear would reject it in this place. 10. Tpilos per addos
Tpayıxwe. This transition is harsh and obscure. The sense seems to require, alhas tos, wi tpolos, namely Euripides.
# Emend, in Suid. Part II. Pszi, p.7
Tis, indeed, may be omitted, but tpilos should have preceded annos.
XII. To Peace. This Ode is in many places very elegant and poetical. The beginning, however, is too noble and fpirited for the conclusion. The first nine verses appear to have been written when the mind was impregnated with noble ideas; and the succeeding verses, in some unpropitious hour, when the imagination was overclouded, and fancy had lost its influence. The metres are various, and not unpleasant to the ear; but in the eighth line, if a Versus Paræmiacus is intended, there is a false quantity, or else
- Υπερράγη ασπείoς αιθηρ is no verse. The learned writer, we suppose will not elude our decision, by asserting it to be an Epichoriambus dim. hypercat. with a Pæon secundus, or a Dijambus, in prima sede; or that actélos an orp, is pes Orthius pentasyllabus, as we do not recollect such a combination in any author. In verse 15. the final fyllable in Δημητρα muft be long before ΣΤ.
XIII. An Anacreontic Ode on PLEASURE, not in her loose attire, as she is painted by the Poet, whom our Author imitates. The H dovn of Mr. H. is a sober and more attractive dame, whose actions are guided by reason, and whose path leads to solid delights. In the 12th verse, the final a in anace must be long, before Šntev. Anacreon, Ode 57.
Koçuons Edelrvus Zeus. Euripides, Cycl. 14.
Aye Zwypxowu opools, and in Homer, sl. B. 634, Oi ta Zaxurlov cxov, and V. 824. O. de Z2 BLCV EVOLEOV. In il. A, also, V. 103, and 124. we find
Oixade voolnozstępns si5 aclu Z£2E1ns Such instances, it is true, are rare, and a modern should only infringe general rules, where an ancient has offended against them. Of the passage in Il. B. 634. Dawes, indeed, says, “ Itam scripturam non sollicito, quanquam ab Homeri manu potius fuifle crediderim Luxur075.” Ed. Alc. p. 92. V. 12. FU.Obye should be flet7€ de. V. 20. The pofition of the words is embarrafied, and the first syllable of yorutxw made short, contrary to all the authorities, which we can recollect. V. 24. OU.OVEPiedicow. This may, perhaps, be right; but the two substantives are inelegant.
XIV. An Ode, in various measures, to Anger. Of the 3d line we doubt the Greek. In the 4th, we would read Qarn for Oxuns. The crowd of Sigmata, in the fixth, reminded us of the accusation which was urged against Euripides, and of the verse from Plato the comic writer, which is quoted by the Scholialt on Medea, V. 476.