by Thomas Moore
And brilliant graces learn to bloom.
Behold! — my boys a goblet bear,
Whose sparkling foam lights up the air.
Where are now the tear, the sigh?
To the winds they fly, they fly!
Grasp the bowl; in nectar sinking,
Man of sorrow, drown thy thinking!
Say, can the tears we lend to thought
In life’s account avail us aught?
Can we discern with all our lore,
The path we’ve yet to journey o’er?
Alas, alas, in ways so dark,
’Tis only wine can strike a spark!
Then let me quaff the foamy tide,
And through the dance meandering glide;
Let me imbibe the spicy breath
Of odors chafed to fragrant death;
Or from the lips of love inhale
A more ambrosial, richer gale!
To hearts that court the phantom Care,
Let him retire and shroud him there;
While we exhaust the nectared bowl,
And swell the choral song of soul
To him, the god who loves so well
The nectared bowl, the choral swell!
ODE XXXIX.
How I love the festive boy,
Tripping through the dance of joy!
How I love the mellow sage,
Smiling through the veil of age!
And whene’er this man of years
In the dance of joy appears,
Snows may o’er his head be flung,
But his heart — his heart is young.
ODE XL.
I know that Heaven hath sent me here,
To run this mortal life’s career;
The scenes which I have journeyed o’er,
Return no more — alas! no more!
And all the path I’ve yet to go,
I neither know nor ask to know.
Away, then, wizard Care, nor think
Thy fetters round this soul to link;
Never can heart that feels with me
Descend to be a slave to thee!
And oh! before the vital thrill,
Which trembles at my heart is still,
I’ll gather Joy’s luxuriant flowers,
And gild with bliss my fading hours;
Bacchus shall bid my winter bloom,
And Venus dance me to the tomb!
ODE XLI.
When Spring adorns the dewy scene,
How sweet to walk the velvet green,
And hear the west wind’s gentle sighs,
As o’er the scented mead it flies!
How sweet to mark the pouting vine,
Ready to burst in tears of wine;
And with some maid, who breathes but love,
To walk, at noontide, through the grove,
Or sit in some cool, green recess —
Oh, is this not true happiness?
ODE XLII.1
Yes, be the glorious revel mine,
Where humor sparkles from the wine.
Around me, let the youthful choir
Respond to my enlivening lyre;
And while the red cup foams along,
Mingle in soul as well as song.
Then, while I sit, with flowerets crowned,
To regulate the goblets round.
Let but the nymph, our banquet’s pride,
Be seated smiling by my side,
And earth has not a gift or power
That I would envy, in that hour.
Envy! — oh never let its blight
Touch the gay hearts met here tonight.
Far hence be slander’s sidelong wounds,
Nor harsh dispute, nor discord’s sounds
Disturb a scene, where all should be
Attuned to peace and harmony.
Come, let us hear the harp’s gay note
Upon the breeze inspiring float,
While round us, kindling into love,
Young maidens through the light dance move.
Thus blest with mirth, and love, and peace,
Sure such a life should never cease!
1 The character of Anacreon is here very strikingly depicted. His love of social, harmonized pleasures, is expressed with a warmth, amiable and endearing.
ODE XLIII.
While our rosy fillets shed
Freshness o’er each fervid head,
With many a cup and many a smile
The festal moments we beguile.
And while the harp, impassioned flings
Tuneful rapture from its strings,1
Some airy nymph, with graceful bound,
Keeps measure to the music’s sound;
Waving, in her snowy hand,
The leafy Bacchanalian wand,
Which, as the tripping wanton flies,
Trembles all over to her sighs.
A youth the while, with loosened hair,
Floating on the listless air,
Sings, to the wild harp’s tender tone,
A tale of woe, alas, his own;
And oh, the sadness in his sigh.
As o’er his lips the accents die!
Never sure on earth has been
Half so bright, so blest a scene.
It seems as Love himself had come
To make this spot his chosen home; — 2
And Venus, too, with all her wiles,
And Bacchus, shedding rosy smiles,
All, all are here, to hail with me
The Genius of Festivity!
1 Respecting the barbiton a host of authorities may be collected, which, after all, leave us ignorant of the nature of the instrument. There is scarcely any point upon which we are so totally uninformed as the music of the ancients. The authors extant upon the subject are, I imagine, little understood; and certainly if one of their moods was a progression by quarter-tones, which we are told was the nature of the enharmonic scale, simplicity was by no means the characteristic of their melody; for this is a nicety of progression of which modern music is not susceptible. The invention of the barbiton is, by Athenaeus, attributed to Anacreon.
2 The introduction of these deities to the festival is merely allegorical. Madame Dacier thinks that the poet describes a masquerade, where these deities were personated by the company in masks. The translation will conform with either idea.
ODE XLIV.1
Buds of roses, virgin flowers,
Culled from Cupid’s balmy bowers,
In the bowl of Bacchus steep,
Till with crimson drops they weep.
Twine the rose, the garland twine,
Every leaf distilling wine;
Drink and smile, and learn to think
That we were born to smile and drink.
Rose, thou art the sweetest flower
That ever drank the amber shower;
Rose, thou art the fondest child
Of dimpled Spring, the wood-nymph wild.
Even the Gods, who walk the sky,
Are amorous of thy scented sigh.
Cupid, too, in Paphian shades,
His hair with rosy fillets braids,
When with the blushing sister Graces,
The wanton winding dance he traces.
Then bring me, showers of roses bring,
And shed them o’er me while I sing.
Or while, great Bacchus, round thy shrine,
Wreathing my brow with rose and vine,
I lead some bright nymph through the dance,
Commingling soul with every glance!
1 This spirited poem is a eulogy on the rose; and again, in the fifty- fifth ode, we shall find our author rich in the praises of that flower. In a fragment of Sappho, in the romance of Achilles Tatius, to which Barnes refers us, the rose is fancifully styled “the eye of flowers;” and the same poetess, in another fragment, calls the favors of the Muse “the roses of the Pleria.”
ODE XLV.
Within this goblet, rich and deep,
&n
bsp; I cradle all my woes to sleep.
Why should we breathe the sigh of fear,
Or pour the unavailing tear?
For death will never heed the sigh,
Nor soften at the tearful eye;
And eyes that sparkle, eyes that weep,
Must all alike be sealed in sleep.
Then let us never vainly stray,
In search of thorns, from pleasure’s way;
But wisely quaff the rosy wave,
Which Bacchus loves, which Bacchus gave;
And in the goblet, rich and deep,
Cradle our crying woes to sleep.
ODE XLVI.1
Behold, the young, the rosy Spring,
Gives to the breeze her scented wing:
While virgin Graces, warm with May;
Fling roses o’er her dewy way.
The murmuring billows of the deep
Have languished into silent sleep;
And mark! the flitting sea-birds lave
Their plumes in the reflecting wave;
While cranes from hoary winter fly
To flutter in a kinder sky.
Now the genial star of day
Dissolves the murky clouds away;
And cultured field, and winding stream,
Are freshly glittering in his beam.
Now the earth prolific swells
With leafy buds and flowery bells;
Gemming shoots the olive twine,
Clusters ripe festoon the vine;
All along the branches creeping,
Through the velvet foliage peeping,
Little infant fruits we see,
Nursing into luxury.
1 The fastidious affectation of some commentators has denounced this ode as spurious. Degen pronounces the four last lines to be the patch-work of some miserable versificator, and Brunck condemns the whole ode. It appears to me, on the contrary, to be elegantly graphical: full of delicate expressions and luxuriant imagery.
ODE XLVII.
’Tis true, my fading years decline,
Yet can I quaff the brimming wine,
As deep as any stripling fair,
Whose cheeks the flush of morning wear;
And if, amidst the wanton crew,
I’m called to wind the dance’s clue,
Then shalt thou see this vigorous hand,
Not faltering on the Bacchant’s wand,
But brandishing a rosy flask,
The only thyrsus e’er I’ll ask!1
Let those, who pant for Glory’s charms,
Embrace her in the field of arms;
While my inglorious, placid soul
Breathes not a wish beyond this bowl.
Then fill it high, my ruddy slave,
And bathe me in its brimming wave.
For though my fading years decay,
Though manhood’s prime hath past away,
Like old Silenus, sire divine,
With blushes borrowed from my wine.
I’ll wanton mid the dancing train,
And live my follies o’er again!
1 Phornutus assigns as a reason for the consecration of the thyrsus to Bacchus, that inebriety often renders the support of a stick very necessary.
ODE XLVIII.
When my thirsty soul I steep,
Every sorrow’s lulled to sleep.
Talk of monarchs! I am then
Richest, happiest, first of men;
Careless o’er my cup I sing,
Fancy makes me more than king;
Gives me wealthy Croesus’ store,
Can I, can I wish for more?
On my velvet couch reclining,
Ivy leaves my brow entwining,1
While my soul expands with glee,
What are kings and crowns to me?
If before my feet they lay,
I would spurn them all away;
Arm ye, arm ye, men of might,
Hasten to the sanguine fight;
But let me, my budding vine!
Spill no other blood than thine.
Yonder brimming goblet see,
That alone shall vanquish me —
Who think it better, wiser far
To fall in banquet than in war,
1 “The ivy was consecrated to Bacchus [says Montfaucon], because he formerly lay hid under that tree, or as others will have it, because its leaves resemble those of the vine.” Other reasons for its consecration, and the use of it in garlands at banquets, may be found in Longepierre, Barnes, etc.
ODE XLIX.
When Bacchus, Jove’s immortal boy,
The rosy harbinger of joy,
Who, with the sunshine of the bowl,
Thaws the winter of our soul —
When to my inmost core he glides,
And bathes it with his ruby tides,
A flow of joy, a lively heat,
Fires my brain, and wings my feet,
Calling up round me visions known
To lovers of the bowl alone.
Sing, sing of love, let music’s sound
In melting cadence float around,
While, my young Venus, thou and I
Responsive to its murmurs sigh.
Then, waking from our blissful trance,
Again we’ll sport, again we’ll dance.
ODE L.1
When wine I quaff, before my eyes
Dreams of poetic glory rise;2
And freshened by the goblet’s dews,
My soul invokes the heavenly Muse,
When wine I drink, all sorrow’s o’er;
I think of doubts and fears no more;
But scatter to the railing wind
Each gloomy phantom of the mind.
When I drink wine, the ethereal boy,
Bacchus himself, partakes my joy;
And while we dance through vernal bowers,
Whose every breath comes fresh from flowers,
In wine he makes my senses swim,
Till the gale breathes of naught but him!
Again I drink, — and, lo, there seems
A calmer light to fill my dreams;
The lately ruffled wreath I spread
With steadier hand around my head;
Then take the lyre, and sing “how blest
The life of him who lives at rest!”
But then comes witching wine again,
With glorious woman in its train;
And, while rich perfumes round me rise,
That seem the breath of woman’s sighs,
Bright shapes, of every hue and form.
Upon my kindling fancy swarm,
Till the whole world of beauty seems
To crowd into my dazzled dreams!
When thus I drink, my heart refines,
And rises as the cup declines;
Rises in the genial flow,
That none but social spirits know,
When, with young revellers, round the bowl,
The old themselves grow young in soul!
Oh, when I drink, true joy is mine,
There’s bliss in every drop of wine.
All other blessings I have known,
I scarcely dared to call my own;
But this the Fates can ne’er destroy,
Till death o’ershadows all my joy.
1 Faber thinks this ode spurious; but, I believe, he is singular in his opinion. It has all the spirit of our author. Like the wreath which he presented in the dream, “it smells of Anacreon.”
2 Anacreon is not the only one [says Longepierre] whom wine has inspired with poetry. We find an epigram in the first book of the “Anthologia,” which begins thus: —
If with water you fill up your glasses,
You’ll never write anything wise;
For wine’s the true horse of Parnassus.
Which carries a bard to the skies!
ODE LI.
Fly not thus my brow of snow,
Lovely wanton! fly not so.
Though the wane of age
is mine,
Though youth’s brilliant flush be thine,
Still I’m doomed to sigh for thee,
Blest, if thou couldst sigh for me!
See, in yonder flowery braid,
Culled for thee, my blushing maid,1
How the rose, of orient glow,
Mingles with the lily’s snow;
Mark, how sweet their tints agree,
Just, my girl, like thee and me!
1 In the same manner that Anacreon pleads for the whiteness of his locks, from the beauty of the color in garlands, a shepherd, in Theocritus, endeavors to recommend his black hair.
ODE LII.1
Away, away, ye men of rules,
What have I do with schools?
They’d make me learn, they’d make me think,
But would they make me love and drink?
Teach me this, and let me swim
My soul upon the goblet’s brim;
Teach me this, and let me twine
Some fond, responsive heart to mine,
For, age begins to blanch my brow,
I’ve time for naught but pleasure now.
Fly, and cool, my goblet’s glow
At yonder fountain’s gelid flow;
I’ll quaff, my boy, and calmly sink
This soul to slumber as I drink.
Soon, too soon, my jocund slave,
You’ll deck your master’s grassy grave;
And there’s an end — for ah, you know
They drink but little wine below!
1 “This is doubtless the work of a more modern poet than Anacreon; for at the period when he lived rhetoricians were not known.” — DEGEN.
Though this ode is found in the Vatican manuscript, I am much inclined to agree in this argument against its authenticity: for though the dawnings of the art of rhetoric might already have appeared, the first who gave it any celebrity was. Corax of Syracuse, and he flourished in the century after Anacreon.
ODE LIII.
When I behold the festive train
Of dancing youth, I’m young again!
Memory wakes her magic trance,
And wings me lightly through the dance.
Come, Cybeba, smiling maid!
Cull the flower and twine the braid;
Bid the blush of summer’s rose
Burn upon my forehead’s snows;
And let me, while the wild and young
