by Thomas Moore
3 The music of the Gaditanian females had all the voluptuous character of their dancing, as appears from Martial.
ODE XV.1
Tell me, why, my sweetest dove,
Thus your humid pinions move,
Shedding through the air in showers
Essence of the balmiest flowers?
Tell me whither, whence you rove,
Tell me all, my sweetest dove.
Curious stranger, I belong
To the bard of Teian song;
With his mandate now I fly
To the nymph of azure eye; —
She, whose eye has maddened many,
But the poet more than any,
Venus, for a hymn of love,
Warbled in her votive grove,2
(’Twas, in sooth a gentle lay,)
Gave me to the bard away.
See me now his faithful minion, —
Thus with softly-gliding pinion,
To his lovely girl I bear
Songs of passion through the air.
Oft he blandly whispers me,
“Soon, my bird, I’ll set you free.”
But in vain he’ll bid me fly,
I shall serve him till I die.
Never could my plumes sustain
Ruffling winds and chilling rain,
O’er the plains, or in the dell,
On the mountain’s savage swell,
Seeking in the desert wood
Gloomy shelter, rustic food.
Now I lead a life of ease,
Far from rugged haunts like these.
From Anacreon’s hand I eat
Food delicious, viands sweet;
Flutter o’er his goblet’s brim,
Sip the foamy wine with him.
Then, when I have wantoned round
To his lyre’s beguiling sound;
Or with gently moving-wings
Fanned the minstrel while he sings;
On his harp I sink in slumbers,
Dreaming still of dulcet numbers!
This is all — away — away —
You have made me waste the day.
How I’ve chattered! prating crow
Never yet did chatter so.
1 The dove of Anacreon, bearing a letter from the poet to his mistress, is met by a stranger, with whom this dialogue, is imagined.
2 “This passage is invaluable, and I do not think that anything so beautiful or so delicate has ever been said. What an idea does it give of the poetry of the man, from whom Venus herself, the mother of the Graces and the Pleasures, purchases a little hymn with one of her favorite doves!” — LONGEPIERRE.
ODE XVI.1
Thou, whose soft and rosy hues
Mimic form and soul infuse,
Best of painters, come portray
The lovely maid that’s far away.
Far away, my soul! thou art,
But I’ve thy beauties all by heart.
Paint her jetty ringlets playing,
Silky locks, like tendrils straying;2
And, if painting hath the skill
To make the spicy balm distil,
Let every little lock exhale
A sigh of perfume on the gale.
Where her tresses’ curly flow
Darkles o’er the brow of snow,
Let her forehead beam to light,
Burnished as the ivory bright.
Let her eyebrows smoothly rise
In jetty arches o’er her eyes,
Each, a crescent gently gliding,
Just commingling, just dividing.
But, hast thou any sparkles warm,
The lightning of her eyes to form?
Let them effuse the azure rays,
That in Minerva’s glances blaze,
Mixt with the liquid light that lies
In Cytherea’s languid eyes.
O’er her nose and cheek be shed
Flushing white and softened red;
Mingling tints, as when there glows
In snowy milk the bashful rose.
Then her lip, so rich in blisses,
Sweet petitioner for kisses,
Rosy nest, where lurks Persuasion,
Mutely courting Love’s invasion.
Next, beneath the velvet chin,
Whose dimple hides a Love within,
Mould her neck with grace descending,
In a heaven of beauty ending;
While countless charms, above, below,
Sport and flutter round its snow.
Now let a floating, lucid veil,
Shadow her form, but not conceal;3
A charm may peep, a hue may beam
And leave the rest to Fancy’s dream.
Enough— ’tis she! ’tis all I seek;
It glows, it lives, it soon will speak!
1 This ode and the next may be called companion-pictures; they are highly finished, and give us an excellent idea of the taste of the ancients in beauty.
2 The ancients have been very enthusiastic in their praises of the beauty of hair. Apuleius, in the second book of his Milesiacs, says that Venus herself, if she were bald, though surrounded by the Graces and the Loves, could not be pleasing even to her husband Vulcan.
3 This delicate art of description, which leaves imagination to complete the picture, has been seldom adopted in the imitations of this beautiful poem. Ronsard is exceptionally minute; and Politianus, in his charming portrait of a girl, full of rich and exquisite diction, has lifted the veil rather too much. The “questa che tu m’intendi” should be always left to fancy.
ODE XVII.
And now with all thy pencil’s truth,
Portray Bathyllus, lovely youth!
Let his hair, in masses bright,
Fall like floating rays of light;
And there the raven’s die confuse
With the golden sunbeam’s hues.
Let no wreath, with artful twine.
The flowing of his locks confine;
But leave them loose to every breeze,
To take what shape and course they please.
Beneath the forehead, fair as snow,
But flushed with manhood’s early glow,
And guileless as the dews of dawn,
Let the majestic brows be drawn,
Of ebon hue, enriched by gold,
Such as dark, shining snakes unfold.
Mix in his eyes the power alike,
With love to win, with awe to strike;
Borrow from Mars his look of ire,
From Venus her soft glance of fire;
Blend them in such expression here,
That we by turns may hope and fear!
Now from the sunny apple seek
The velvet down that spreads his cheek;
And there, if art so far can go,
The ingenuous blush of boyhood show.
While, for his mouth — but no, — in vain
Would words its witching charm explain.
Make it the very seat, the throne,
That Eloquence would claim her own;
And let the lips, though silent, wear
A life-look, as if words were there.
Next thou his ivory neck must trace,
Moulded with soft but manly grace;
Fair as the neck of Paphia’s boy,
Where Paphia’s arms have hung in joy.
Give him the wingèd Hermes’ hand,
With which he waves his snaky wand;
Let Bacchus the broad chest supply,
And Leda’s son the sinewy thigh;
While, through his whole transparent frame,
Thou show’st the stirrings of that flame,
Which kindles, when the first love-sigh
Steals from the heart, unconscious why.
But sure thy pencil, though so bright,
Is envious of the eye’s delight,
Or its enamoured touch would show
The shoulder, fair as sunless snow,
Which now in vei
ling shadow lies,
Removed from all but Fancy’s eyes.
Now, for his feet — but hold — forbear —
I see the sun-god’s portrait there:1
Why paint Bathyllus? when in truth,
There, in that god, thou’st sketched the youth.
Enough — let this bright form be mine,
And send the boy to Samos’ shrine;
Phoebus shall then Bathyllus be,
Bathyllus then, the deity!
1 The abrupt turn here is spirited, but requires some explanation. While the artist is pursuing the portrait of Bathyllus, Anacreon, we must suppose, turns around and sees a picture of Apollo, which was intended for an altar at Samos. He then instantly tells the painter to cease his work; that this picture will serve for Bathyllus; and that, when he goes to Samos, he may make an Apollo of the portrait of the boy which he had begun.
ODE XVIII.
Now the star of day is high,
Fly, my girls, in pity fly.
Bring me wine in brimming urns
Cool my lip, it burns, it burns!
Sunned by the meridian fire,
Panting, languid I expire,
Give me all those humid flowers,
Drop them o’er my brow in showers.
Scarce a breathing chaplet now
Lives upon my feverish brow;
Every dewy rose I wear
Sheds its tears, and withers there.1
But to you, my burning heart,
What can now relief impart?
Can brimming bowl, or floweret’s dew,
Cool the flame that scorches you?
1 In the poem of Mr. Sheridan’s, “Uncouth is this moss-covered grotto of stone,” there is an idea very singularly coincident with this of Angerianus: —
And thou, stony grot, in thy arch may’st preserve
Some lingering drops of the night-fallen dew:
Let them fall on her bosom of snow, and they’ll serve
As tears of my sorrow entrusted to you.
ODE XIX.1
Here recline you, gentle maid,
Sweet is this embowering shade;
Sweet the young, the modest trees,
Ruffled by the kissing breeze;
Sweet the little founts that weep,
Lulling soft the mind to sleep;
Hark! they whisper as they roll,
Calm persuasion to the soul;
Tell me, tell me, is not this
All a stilly scene of bliss?
“Who, my girl, would pass it by?
Surely neither you nor I.”
1 The description of this bower is so natural and animated, that we almost feel a degree of coolness and freshness while we peruse it.
ODE XX.1
One day the Muses twined the hands
Of infant Love with flowery bands;
And to celestial Beauty gave
The captive infant for her slave.
His mother comes, with many a toy,
To ransom her beloved boy;2
His mother sues, but all in vain, —
He ne’er will leave his chains again.
Even should they take his chains away,
The little captive still would stay.
“If this,” he cries, “a bondage be,
Oh, who could wish for liberty?”
1 The poet appears, in this graceful allegory, to describe the softening influence which poetry holds over the mind, in making it peculiarly susceptible to the impressions of beauty.
2 In the first idyl of Moschus, Venus there proclaims the reward for her fugitive child: —
On him, who the haunts of my Cupid can show,
A kiss of the tenderest stamp I’ll bestow;
But he, who can bring back the urchin in chains,
Shall receive even something more sweet for his pains.
ODE XXI.1
Observe when mother earth is dry,
She drinks the droppings of the sky;
And then the dewy cordial gives
To every thirsty plant that lives.
The vapors, which at evening weep,
Are beverage to the swelling deep;
And when the rosy sun appears,
He drinks the ocean’s misty tears.
The moon too quaffs her paly stream
Of lustre, from the solar beam.
Then, hence with all your sober thinking!
Since Nature’s holy law is drinking;
I’ll make the laws of nature mine,
And pledge the universe in wine.
1 Those critics who have endeavored to throw the chains of precision over the spirit of this beautiful trifle, require too much from Anacreontic philosophy. Among others, Gail very sapiently thinks that the poet uses the epithet [Greek: melainae], because black earth absorbs moisture more quickly than any other; and accordingly he indulges us with an experimental disquisition on the subject. — See Gail’s Notes.
ODE XXII.
The Phrygian rock, that braves the storm,
Was once a weeping matron’s form;1
And Progne, hapless, frantic maid,
Is now a swallow in the shade.
Oh! that a mirror’s form were mine,
That I might catch that smile divine;
And like my own fond fancy be,
Reflecting thee, and only thee;
Or could I be the robe which holds
That graceful form within its folds;
Or, turned into a fountain, lave
Thy beauties in my circling wave.
Would I were perfume for thy hair,
To breathe my soul in fragrance there;
Or, better still, the zone, that lies
Close to thy breast, and feels its sighs!2
Or even those envious pearls that show
So faintly round that neck of snow —
Yes, I would be a happy gem,
Like them to hang, to fade like them.
What more would thy Anacreon be?
Oh, any thing that touches thee;
Nay, sandals for those airy feet —
Even to be trod by them were sweet!
1 The compliment of this ode is exquisitely delicate, and so singular for the period in which Anacreon lived, when the scale of love had not yet been graduated Into all its little progressive refinements, that if we were inclined to question the authenticity of the poem, we should find a much more plausible argument in the features of modern gallantry which it bears, than in any of those fastidious conjectures upon which some commentators have presumed so far.
2 The women of Greece not only wore this zone, but condemned themselves to fasting, and made use of certain drugs and powders for the same purpose. To these expedients they were compelled, in consequence of their inelegant fashion of compressing the waist into a very narrow compass, which necessarily caused an excessive tumidity in the bosom. See “Dioscorides,” lib. v.
ODE XXIII.
I often wish this languid lyre,
This warbler of my soul’s desire,
Could raise the breath of song sublime,
To men of fame, in former time.
But when the soaring theme I try,
Along the chords my numbers die,
And whisper, with dissolving tone,
“Our sighs are given to love alone!”
Indignant at the feeble lay,
I tore the panting chords away,
Attuned them to a nobler swell,
And struck again the breathing shell;
In all the glow of epic fire,
To Hercules I wake the lyre,
But still its fainting sighs repeat,
“The tale of love alone is sweet!”
Then fare thee well, seductive dream,
That madest me follow Glory’s theme;
For thou my lyre, and thou my heart,
Shall never more in spirit part;
And all that one has felt so well
The other shall as sweetly tell!
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ODE XXIV.
To all that breathe the air of heaven,
Some boon of strength has Nature given.
In forming the majestic bull,
She fenced with wreathed horns his skull;
A hoof of strength she lent the steed,
And winged the timorous hare with speed.
She gave the lion fangs of terror,
And, o’er the ocean’s crystal mirror,
Taught the unnumbered scaly throng
To trace their liquid path along;
While for the umbrage of the grove,
She plumed the warbling world of love.
To man she gave, in that proud hour,
The boon of intellectual power.
Then, what, oh woman, what, for thee,
Was left in Nature’s treasury?
She gave thee beauty — mightier far
Than all the pomp and power of war.
Nor steel, nor fire itself hath power
Like woman, in her conquering hour.
Be thou but fair, mankind adore thee,
Smile, and a world is weak before thee!1
1 Longepierre’s remark here is ingenious; “The Romans,” says he, “were so convinced of the power of beauty, that they used a word implying strength in the place of the epithet beautiful”.
ODE XXV.
Once in each revolving year,
Gentle bird! we find thee here.
When Nature wears her summer-vest,
Thou comest to weave thy simple nest;
But when the chilling winter lowers.
Again thou seekest the genial bowers
Of Memphis, or the shores of Nile,
Where sunny hours for ever smile.
And thus thy pinion rests and roves, —
Alas! unlike the swarm of Loves,
That brood within this hapless breast,
And never, never change their nest!
Still every year, and all the year,
They fix their fated dwelling here;
And some their infant plumage try,
And on a tender winglet fly;
While in the shell, impregned with fires,
Still lurk a thousand more desires;
Some from their tiny prisons peeping,
And some in formless embryo sleeping.
Thus peopled, like the vernal groves,
My breast resounds, with warbling Loves;
