Thomas Moore- Collected Poetical Works

by Thomas Moore

  ODE I.1

  I saw the smiling bard of pleasure,

  The minstrel of the Teian measure;

  ’Twas in a vision of the night,

  He beamed upon my wondering sight.

  I heard his voice, and warmly prest

  The dear enthusiast to my breast.

  His tresses wore a silvery dye,

  But beauty sparkled in his eye;

  Sparkled in his eyes of fire,

  Through the mist of soft desire.

  His lip exhaled, when’er he sighed,

  The fragrance of the racy tide;

  And, as with weak and reeling feet

  He came my cordial kiss to meet,

  An infant, of the Cyprian band,

  Guided him on with tender hand.

  Quick from his glowing brows he drew

  His braid, of many a wanton hue;

  I took the wreath, whose inmost twine

  Breathed of him and blushed with wine.

  I hung it o’er my thoughtless brow,

  And ah! I feel its magic now:

  I feel that even his garland’s touch

  Can make the bosom love too much.

  1 This ode is the first of the series in the Vatican manuscript, which attributes it to no other poet than Anacreon. They who assert that the manuscript imputes it to Basilius, have been mislead. Whether it be the production of Anacreon or not, it has all the features of ancient simplicity, and is a beautiful imitation of the poet’s happiest manner.

  ODE II.

  Give me the harp of epic song,

  Which Homer’s finger thrilled along;

  But tear away the sanguine string,

  For war is not the theme I sing.

  Proclaim the laws of festal right,1

  I’m monarch of the board to-night;

  And all around shall brim as high,

  And quaff the tide as deep as I.

  And when the cluster’s mellowing dews

  Their warm enchanting balm infuse,

  Our feet shall catch the elastic bound,

  And reel us through the dance’s round.

  Great Bacchus! we shall sing to thee,

  In wild but sweet ebriety;

  Flashing around such sparks of thought,

  As Bacchus could alone have taught.

  Then, give the harp of epic song,

  Which Homer’s finger thrilled along;

  But tear away the sanguine string,

  For war is not the theme I sing.

  1 The ancients prescribed certain laws of drinking at their festivals, for an account of which see the commentators. Anacreon here acts the symposiarch, or master of the festival.

  ODE III.1

  Listen to the Muse’s lyre,

  Master of the pencil’s fire!

  Sketched in painting’s bold display,

  Many a city first portray;

  Many a city, revelling free,

  Full of loose festivity.

  Picture then a rosy train,

  Bacchants straying o’er the plain;

  Piping, as they roam along,

  Roundelay or shepherd-song.

  Paint me next, if painting may

  Such a theme as this portray,

  All the earthly heaven of love

  These delighted mortals prove.

  1 La Fosse has thought proper to lengthen this poem by considerable interpolations of his own, which he thinks are indispensably necessary to the completion of the description.

  ODE IV.1

  Vulcan! hear your glorious task;

  I did not from your labors ask

  In gorgeous panoply to shine,

  For war was ne’er a sport of mine.

  No — let me have a silver bowl,

  Where I may cradle all my soul;

  But mind that, o’er its simple frame

  No mimic constellations flame;

  Nor grave upon the swelling side,

  Orion, scowling o’er the tide.

  I care not for the glittering wain,

  Nor yet the weeping sister train.

  But let the vine luxuriant roll

  Its blushing tendrils round the bowl,

  While many a rose-lipped bacchant maid

  Is culling clusters in their shade.

  Let sylvan gods, in antic shapes,

  Wildly press the gushing grapes,

  And flights of Loves, in wanton play,

  Wing through the air their winding way;

  While Venus, from her arbor green,

  Looks laughing at the joyous scene,

  And young Lyaeus by her side

  Sits, worthy of so bright a bride.

  1 This ode, Aulus Gellius tells us, was performed at an entertainment where he was present.

  ODE V.

  Sculptor, wouldst thou glad my soul,

  Grave for me an ample bowl,

  Worthy to shine in hall or bower,

  When spring-time brings the reveller’s hour.

  Grave it with themes of chaste design,

  Fit for a simple board like mine.

  Display not there the barbarous rites

  In which religious zeal delights;

  Nor any tale of tragic fate

  Which History shudders to relate.

  No — cull thy fancies from above,

  Themes of heaven and themes of love.

  Let Bacchus, Jove’s ambrosial boy,

  Distil the grape in drops of joy,

  And while he smiles at every tear,

  Let warm-eyed Venus, dancing near,

  With spirits of the genial bed,

  The dewy herbage deftly tread.

  Let Love be there, without his arms,

  In timid nakedness of charms;

  And all the Graces, linked with Love,

  Stray, laughing, through the shadowy grove;

  While rosy boys disporting round,

  In circlets trip the velvet ground.

  But ah! if there Apollo toys,1

  I tremble for the rosy boys.

  1 An allusion to the fable that Apollo had killed his beloved boy Hyacinth, while playing with him at quoits. “This” (says M. La Fosse) “is assuredly the sense of the text, and it cannot admit of any other.”

  ODE VI.1

  As late I sought the spangled bowers,

  To cull a wreath of matin flowers,

  Where many an early rose was weeping,

  I found the urchin Cupid sleeping,

  I caught the boy, a goblet’s tide

  Was richly mantling by my side,

  I caught him by his downy wing,

  And whelmed him in the racy spring.

  Then drank I down the poisoned bowl,

  And love now nestles in my soul.

  Oh, yes, my soul is Cupid’s nest,

  I feel him fluttering in my breast.

  1 This beautiful fiction, which the commentators have attributed to Julian, a royal poet, the Vatican MS. pronounces to be the genuine offspring of Anacreon.

  ODE VII.

  The women tell me every day

  That all my bloom has pas past away.

  “Behold,” the pretty wantons cry,

  “Behold this mirror with a sigh;

  The locks upon thy brow are few,

  And like the rest, they’re withering too!”

  Whether decline has thinned my hair,

  I’m sure I neither know nor care;

  But this I know, and this I feel

  As onward to the tomb I steal,

  That still as death approaches nearer,

  The joys of life are sweeter, dearer;

  And had I but an hour to live,

  That little hour to bliss I’d give.

  ODE VIII.1

  I care not for the idle state

  Of Persia’s king, the rich, the great.

  I envy not the monarch’s throne,

  Nor wish the treasured gold my own

  But oh! be mine the rosy wreath,

  Its freshness o’er
my brow to breathe;

  Be mine the rich perfumes that flow,

  To cool and scent my locks of snow.

  To-day I’ll haste to quaff my wine

  As if to-morrow ne’er would shine;

  But if to-morrow comes, why then —

  I’ll haste to quaff my wine again.

  And thus while all our days are bright,

  Nor time has dimmed their bloomy light,

  Let us the festal hours beguile

  With mantling pup and cordial smile;

  And shed from each new bowl of wine,

  The richest drop on Bacchus’ shrine

  For death may come, with brow unpleasant,

  May come, when least we wish him present,

  And beckon to the Sable shore,

  And grimly bid us — drink no more!

  1 Baxter conjectures that this was written upon the occasion of our poet’s returning the money to Polycrates, according to the anecdote in Stobaeus.

  ODE IX.

  I pray thee, by the gods above,

  Give me the mighty bowl I love,

  And let me sing, in wild delight,

  “I will — I will be mad to-night!”

  Alcmaeon once, as legends tell,

  Was frenzied by the fiends of hell;

  Orestes, too, with naked tread,

  Frantic paced the mountain-head;

  And why? a murdered mother’s shade

  Haunted them still where’er they strayed.

  But ne’er could I a murderer be,

  The grape alone shall bleed for me;

  Yet can I shout, with wild delight,

  “I will — I will be mad to-night.”

  Alcides’ self, in days of yore,

  Imbrued his hands in youthful gore,

  And brandished, with a maniac joy,

  The quiver of the expiring boy:

  And Ajax, with tremendous shield,

  Infuriate scoured the guiltless field.

  But I, whose hands no weapon ask,

  No armor but this joyous flask;

  The trophy of whose frantic hours

  Is but a scattered wreath of flowers,

  Ev’n I can sing, with wild delight,

  “I will — I will be mad to-night!”

  ODE X.1

  How am I to punish thee,

  For the wrong thou’st done to me

  Silly swallow, prating thing —

  Shall I clip that wheeling wing?

  Or, as Tereus did, of old,2

  (So the fabled tale is told,)

  Shall I tear that tongue away,

  Tongue that uttered such a lay?

  Ah, how thoughtless hast thou been!

  Long before the dawn was seen,

  When a dream came o’er my mind,

  Picturing her I worship, kind,

  Just when I was nearly blest,

  Loud thy matins broke my rest!

  1 This ode is addressed to a swallow.

  2 Modern poetry has conferred the name of Philomel upon the nightingale; but many respectable authorities among the ancients assigned this metamorphose to Progne, and made Philomel the swallow, as Anacreon does here.

  ODE XI.1

  “Tell me, gentle youth, I pray thee,

  What in purchase shall I pay thee

  For this little waxen toy,

  Image of the Paphian boy?”

  Thus I said, the other day,

  To a youth who past my way:

  “Sir,” (he answered, and the while

  Answered all in Doric style,)

  “Take it, for a trifle take it;

  ’Twas not I who dared to make it;

  No, believe me, ’twas not I;

  Oh, it has cost me many a sigh,

  And I can no longer keep

  Little Gods, who murder sleep!”

  “Here, then, here,” (I said with joy,)

  “Here is silver for the boy:

  He shall be my bosom guest,

  Idol of my pious breast!”

  Now, young Love, I have thee mine,

  Warm me with that torch of thine;

  Make me feel as I have felt,

  Or thy waxen frame shall melt:

  I must burn with warm desire,

  Or thou, my boy — in yonder fire.2

  1 It is difficult to preserve with any grace the narrative simplicity of this ode, and the humor of the turn with which it concludes. I feel, indeed, that the translation must appear vapid, if not ludicrous, to an English reader.

  2 From this Longepierre conjectures, that, whatever Anacreon might say, he felt sometimes the inconveniences of old age, and here solicits from the power of Love a warmth which he could no longer expect from Nature.

  ODE XII.

  They tell how Atys, wild with love,

  Roams the mount and haunted grove;1

  Cvbele’s name he howls around,

  The gloomy blast returns the sound!

  Oft too, by Claros’ hallowed spring,2

  The votaries of the laurelled king

  Quaff the inspiring, magic stream,

  And rave in wild, prophetic dream.

  But frenzied dreams are not for me,

  Great Bacchus is my deity!

  Full of mirth, and full of him,

  While floating odors round me swim,

  While mantling bowls are full supplied,

  And you sit blushing by my side,

  I will be mad and raving too —

  Mad, my girl, with love for you!

  1 There are many contradictory stories of the loves of Cybele and Atys. It is certain that he was mutilated, but whether by his own fury, or Cybele’s jealousy, is a point upon which authors are not agreed.

  2 This fountain was in a grove, consecrated to Apollo, and situated between Colophon and Lebedos, in Ionia. The god had an oracle there.

  ODE XIII.

  I will, I will, the conflict’s past,

  And I’ll consent to love at last.

  Cupid has long, with smiling art,

  Invited me to yield my heart;

  And I have thought that peace of mind

  Should not be for a smile resigned;

  And so repelled the tender lure,

  And hoped my heart would sleep secure.

  But, slighted in his boasted charms,

  The angry infant flew to arms;

  He slung his quiver’s golden frame,

  He took his bow; his shafts of flame,

  And proudly summoned me to yield,

  Or meet him on the martial field.

  And what did I unthinking do?

  I took to arms, undaunted, too;

  Assumed the corslet, shield, and spear,

  And, like Pelides, smiled at fear.

  Then (hear it, All ye powers above!)

  I fought with Love! I fought with Love!

  And now his arrows all were shed,

  And I had just in terror fled —

  When, heaving an indignant sigh,

  To see me thus unwounded fly,

  And, having now no other dart,

  He shot himself into my heart!1

  My heart — alas the luckless day!

  Received the God, and died away.

  Farewell, farewell, my faithless shield!

  Thy lord at length is forced to yield.

  Vain, vain, is every outward care,

  The foe’s within, and triumphs there.

  1 Dryden has parodied this thought in the following extravagant lines: —

  —— I’m all o’er Love;

  Nay, I am Love, Love shot, and shot so fast,

  He shot himself into my breast at last.

  ODE XIV.1

  Count me, on the summer trees,

  Every leaf that courts the breeze;

  Count me, on the foamy deep,

  Every wave that sinks to sleep;

  Then, when you have numbered these

  Billowy tides and leafy trees,

  Count me all the flames I prove,
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  All the gentle nymphs I love.

  First, of pure Athenian maids

  Sporting in their olive shades,

  You may reckon just a score,

  Nay, I’ll grant you fifteen more.

  In the famed Corinthian grove,

  Where such countless wantons rove,2

  Chains of beauties may be found,

  Chains, by which my heart is bound;

  There, indeed, are nymphs divine,

  Dangerous to a soul like mine.

  Many bloom in Lesbos’ isle;

  Many in Ionia smile;

  Rhodes a pretty swarm can boast;

  Caria too contains a host.

  Sum them all — of brown and fair

  You may count two thousand there.

  What, you stare? I pray you peace!

  More I’ll find before I cease.

  Have I told you all my flames,

  ‘Mong the amorous Syrian dames?

  Have I numbered every one,

  Glowing under Egypt’s sun?

  Or the nymphs, who blushing sweet

  Deck the shrine of Love in Crete;

  Where the God, with festal play,

  Holds eternal holiday?

  Still in clusters, still remain

  Gades’ warm, desiring train:3

  Still there lies a myriad more

  On the sable India’s shore;

  These, and many far removed,

  All are loving — all are loved!

  1 The poet, in this catalogue of his mistresses, means nothing more, than, by a lively hyperbole, to inform us, that his heart, unfettered by any one object, was warm with devotion towards the sex in general. Cowley is indebted to this ode for the hint of his ballad, called “The Chronicle.”

  2 Corinth was very famous for the beauty and number of its courtesans. Venus was the deity principally worshipped by the people, and their constant prayer was, that the gods should increase the number of her worshippers.