'There are Grammars in Italian and Romaic, French and Romaic, and 'Greek and Romaic, and several good Lexicons.

'The following is a list, as far as I could collect, of the books translated ' into Romaic :

'Locke on the Human Understanding, translated by a Zantiot priest, and ' printed in Vienna.

'Goldsmith's History of Greece, with a continuation.

'Rollin's Ancient History.

'Millot's History of Greece.

'A Selection of the Operas of Metastasio, amongst which are the Themis'tocles in Persia, and the Achilles in Sciros.

'Grammar of the Sciences, by Benjamin Martin.

< The Life of Peter the Great.

'The Life of Suvaroff, by Marmarotyri of Athens.

'Pausanias.

'Virgil, translated into Greek Hexameters, by Eugenius Vulgari.

'Thucydides, printed at Vienna, with the ancient Greek on one page, and

'the modern on the other.

"The Characters of Theophrastus.

'Tasso's Gierusalemme Liberata.

'The Table of Human Life, by Cebes.

'Cornelius Nepos.

'Ovid's Metamorphoses, into Romaic prose.

The theorems of Archimedes; Euclid; Algebra; Trigonometry; and

'Conic Sections, forming 3 vols. 8vo.

'Lavoisier's Chemistry.' Journal.

1. 669. I hear the echoes of the rustic pipe.] Alluding to the pastoral poem by Constantinus Manus mentioned above. It consists of above 1500 lines. It is written in very false taste, and is full of far-fetched conceits, forced allusions, and bad similes. It opens with an address to Venus, then an appeal to the candid reader; thence it advances to a long rhapsody in praise of spring (the extreme diffuseness of which, compared with the beautiful simplicity of Meleager's poem on the same subject, will not prejudice the reader much in favour of the former;) lastly, the dialogue between Cleanthes and his mistress Havrokóme, begins in the following manner:

ΚΛΕΑΝΘΗΣ.

Ψυχὴν ἀυτὸ ἐπεξηγεῖ, παρη[ορεῖ τὸ σωμα

Ὡς ὄρδανον παθητικὸν, καὶ τῆς καρδίας ςόμα·
̓Αυτὸ μὲ ἐξομολοδεῖ, τον νοῦν με μεταφράζει,

Τὴν λύπην με παρηΓορεῖ, καὶ την διασκεδάζει
Ὁ τι λοιπὸν ἀισθάνομαι ἐις τοῦλο τὶ ἐμπνέω,

Στενάζω διὰ μέσω τε, καὶ δι ̓ ἐκεῖνε κλαίω·
Μινίςρος ειν' ἀισθήσεως, καὶ ερμηνευς καρδίας,
Ἐπικαλοῦμαι οὐρανὸν, διὰ τῆς μελῳδίας·
Σταῖς πέτραις ένεσπάρησαν, τοῦ ςήθως με οι φθόγγοι,

Τὸ ὀνομά σε ἔμαθον, τα δάση καὶ οἱ λοιγόι·

Οἱ βράχοι ἀπεςήθησαν, τὴν λέξην ̔Αβροκόμην,

Κάμποι βενὰ καὶ σπήλαια, παρακαλοῦν συ/γνωμήν.

Καθ ̓ ὅ τι τὸ μεσόληπτον μελωδικὸν καλάμι,

Και την Ἠχω ἐδίδαξεν, ἐις τοῦτο νὰ συνδράμῃ.

ΑΒΡΟΚΟΜΗ

Σταῖς πολιτείαις ὁ καθ' εις ευρίσκει τρελὸν ἄνδρα
Πλὴν τέτοιον δὲν ἔξευρα, πῶς ἔχει καὶ ἡ μάνδρα.

ΚΛΕΑΝΘΗΣ.

*Αχ! μὴν μὲ λέξεις ἄνθρωπον, μὴν μὲ ὀνομάζεις ἀνδρα,
Μᾶλλον ἐγὼ ἄς λέξωμαι, ευλόγως Σαλαμάνδρα
Καθ' ότι ζῷ ἐις τὴν φωλιὰν τοῦ Ἔρωτός σε χρόνες

Δὲν ἀποθνήσκω παρευθὺς πλὴν δοκιμάζω πόνες.

ΑΒΡΟΚΟΜΗ κατ' ἰδίαν.

Στοῦ Ἔρωτὸς με τὴν φωλιὰν ζῇ χρόνες τί σημαίνει;
Ετζι ἀυτὸς μὲ ἀγαπᾷ . . . καὶ τὶ λοιπὸν κερδαίνει·
Ειπὲ μοι ἐχθὲς σήμερον, ἐπῆδες εἰς τὴν χώραν ;

ΚΛΕΑΝΘΗΣ.

̓Απὸ ἐκεῖ ἐπέςρεψα, δὲν ἔχω μίαν ὥραν
Μοὶ εἶπεν ἡ ἀρχόντισα, πῶς φράΓελαις προσμένει,
Πλὴν ἦτον ἐις τὴν κόχην της πολλὰ συλλοδισμένη.

ΑΒΡΟΚΟΜΗ.

Τὶ ἄλλο ἐκεῖ ἔμαθες; ΚΛ. Εμαθα πῶς πεθαίνω

*Ἂν δὲν σὲ βλέπω πάνλοτε, κι ̓ ἂν δὲν σὲ συντυχάινω Δὲν ἠμπορεῖ ὅ ἄνος πολέ τε νὰ Γνωρίσῃ,

Γείας τὸ προτερημα, ἑὰν δὲν ἀῤῥωςήση.

Μήτε Γνωρίζει μέριον, ἀφ ̓ οὗ κανενας φθάση,

Νὰ μάθη ἕναν ἀνθρωπον, πάρεξ, ἀφ ̓ οὗ τὸν χάσῃ·
Μὲ ψυχὴν βραδείαν,

Μὲ τυφλὴν καρδίαν,

Καὶ μὲ νοῦν θελὸν,

Αν μαζῆ δὲν μένω

Ὄπε κι' ἀν πηδαίνω

Μὲ θαῤῥοῦν τρελὸν,

Τοῦ καιροῦ φαιδρότης
Ἐξοχῆς λαμπρότης
Κάθε ἡδονὴ,
Σ' ἕναν ὁποῦ πλήτει

Αηδίαν τίκτει

Λύπην προξενεῖ·
Κάθε λοιπὸν τόπος,

Εις ἐμένα τρόπος

Ειναι διωδμοῦ,

Αίριον τὸ δάσος

Ὡσὰν ἀντιθασσως

Τρίζει κατ ̓ ἐμοῦ

The reader will, I imagine, be abundantly satisfied with this specimen of the loves of Cleanthes and Havrokóme.

1. 728. I listen to the spirit-stirring ode.] The famous ode to the modern Spartans, by Riga, beginning

Δέυλε παῖδες τῶν Ἑλλήνων.

For the original, and a translation of it, see Lord Byron's Childe Harolde, p. 207, and 183.

1. 736. A barbarous jar.] Alluding to the rhymed couplets of the modern Greek poetry.

END OF THE NOTES AND ILLUSTRATIONS TO THE THIRD PART.

PP