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mous, to suffer his own name to appear in a place to which it is entitled no otherwise than by participation."

Mr. Bland's share of the work appears to be marked by the initial B, and we have heard names assigned to most of the other contributions; but as there has evidently been a wish for at least a partial concealment, we do not think it fair to withdraw the veil, whatever may be the motives, professional or domestic, which have led to its adoption.

We naturally expected, in a miscellaneous collection like the present, to meet with great inequality in the closeness of the transIations. This is a point of considerable delicacy; something of the expectations of the reader 'must be conceded to the difficulty of transfusing with fidelity the spirit of one language into the idioms. of another; and much must be left to the taste of the translatorhe will sometimes judge wisely in imitating, as nearly as our language will permit, the unornamented simplicity of the original; sometimes will neglect or soften an image unsuited to modern associations; sometimes qualify or refine expressions which are too harsh and farfetched. Every one who is acquainted with the poems of the Greek anthology, knows that passages occasionally occur which are liable to the charge of extravagance. The cotemporaneous taste of the times is more or less discoverable in the productions of every country, and a love of conceits was the prevailing fault, the most prominent feature, of the ages in which the epigrammatists flourished. Besides, the more obvious and natural thoughts, always most pleasing to true taste, were preoccupied, and if novelty was to be attempted, the choice lay among materials of a baser kind; if a new garland was to be entwined, it must have been of flowers which Virgil, and Horace, and Catullus had already rejected. The first poem in the collection, entitled “ The Lover's Message," from Meleager, affords an instance of the fault of which we have been speaking. The passage is omitted in the translation, but is thus noticed in the Illustrations.

“ The sixth line in the original has caused much dispute. Its literal interpretation is, “Espect me not as a sailor, but as one who travels on foot to behold you;' a hyperbolical expression, implying (says Jacobs) The desire of seeing you will support me over the seas, even without the aid of a ship.'' P. 41.

We must remark, however, that while the translator has avoided in one instance the fault of the original, he has, in the very next couplet, fallen into one equally great.

“Go, heralds of my soul! to Phanion's ear,
On all your shrouds the tender accents bear.” P.1.

What can be more affected than the expression“ heralds of the soul," applied to vessels passing and repassing the Hellespont? And it is the more inexcusable, since, on turning to the original, we find no trace of it whatever. The following stanzas have a tone of arch gallantry about them, which, at first sight, would lead us to attribute them to the romantic days of France, rather than to the sixth century: they have, however, the merit of being a very faithful translation.

Paulus, 8. iii. 78. (73.)
Love not extinguished by Age. B.
* For me thy wrinkles have more charms,

Dear Lydia, than a smoother face!
I'd rather fold thee in my arms

Than younger, fairer nymphis enabrace.
“ To me thy autumn is more sweet,

More precious than their veroal rose,
Their summer warms not with a heat

So potent as thy winter glows." P. 3. The following effusion has all the gallantry of Waller, with none of his conceits; and all the warmth and poetry of Moore, with none of his indelicacy. The thoughts are borrowed with sufficient fidelity from the Greek, but the elegance and plaintiveness breathed over the whole belong exclusively to the translator. To our taste the original is meager and uninteresting.

AGATHIAS, 23. jji. 41.

Maiden Passion. N.
u Go, idle, amorous boys,

What are your cares and joys,
To love, that swells the longing virgin's breast?

A flame half hid in doubt,

Soon kindled, soon burnt out,
A blaze of momentary heat at best !

"Haply you well may find

(Proud privilege of your kind)
Some friend to share the secret of your heart;

Or, if your inbred grief

Admit of such relief,
The dance, the chase, the play, assuage your smart.

“Whilst we, poor hapless maids,

Condemn’d to pine in shades,
And to our dearest friends our thoughts deny,

Can only sit and weep,

While all around us sleep,

Unpitied languish, and unheeded die.” P. 10. VOL. III. Nen Series.


We were much pleased with the translation of the well known stanza of Horace lamenting “the decay of his old flame."

“Quo fugit Venus? Heu, quove color decens ?
Quo motus ? quid habes illius, illius

Quæ spirabat amores

Quæ me surpuerat mihi ?
* Where is the bloom, the power to move,
And warm a frozen heart to love?
O where those earlier graces, fraught

With all that could a lover sway,
That wakeu'd every tender thought,

And stole me from myself away?” B. P. 51.

Among those pieces to which the title of “Moral” is prefixed, are four from Palladas on the trite subject of “the shortness and evils of life.” We were obliged to turn to the original to understand the last.

PALLADAS, 129. ii. 434. M.
“O transitory joys of life! ye mourn
Rightly those winged hours that ne'er retum.
We, let us sit, or lie, or toil, or feast,
Time ever runs, a persecuting guest,
His hateful race against our wretched state,

And bears the unconquerable will of fate.” P. 108. There appears to be something defective in the third line; but how tame and spiritless is the whole, compared with the original, which furnishes a beautiful specimen of that simple and touching harmony of expression by which the ancients recommended the commonest thoughts.

Ω της βραχειας τδονης της τ8 βιε.
την οξυτητα τ8 χρονο πενθησατε. .
ημεις καθεζομεσία και κοιμωμεθα, ,
μοχθέντες η τρυφωντες· ο δε χρονος τρέχει,
τρεχει καθ' ημων των ταλαιπωρων βροτων,
φερων έκασ8 τω βιω κατασροφην.”

Dr. Johnson has pointed out in the Rambler the beauties of a short Hymn to Healih, by Ariphron of Sicyon; “in which," says he, “ the power of exalting the happiness of life, of heightening the gifts of fortune, and adding enjoyment to possession, is incnlcated with so much force and beauty, that no one who has ever languished under the discomforts and infirmities of a lingering disease, can read it without feeling the images dance in his breast, and adding from his own experience new vigour to the wish, and from his own imagination new colours to the picture." It loses nothing in its new poetical dress.

BY ARIPHRON OF Sicyon, 23 Scol. i. 159.

Address to Health. B.
“Health, brightest visitant from heaven,

Grant me with thee to rest !
For the short time by nature given,

Be thou my constant guest !
For all the pride that wealth bestows,
The pleasure that from children flows,
Wbate'er we court in regal state
That makes men covet to be great;
“Whatever sweet we hope to fiud

In love's delightful snare,
Whatever good by heaven assign'd,

Whatever pause
All flourish at thy smile divine;
The spring of loveliness is thine,
And every joy that warnis our hearts
With thee approaches and departs.” P. 120.

from care,

When will the danger of quoting from memory be sufficiently known? We find the following observation, p. 153. “Suavius est tui meminisse, quam cum aliis versari,' is, possibly, the very tenderest expression that ever heart conceived, or tongue uttered." How much stronger is the sentiment in its genuine form! “Heu quanto minus est cum reliquis versari, quam tui meminisse !" It is correctly quoted by Lord Byron, and prefixed to some very beautiful stanzas nearly at the end of the volume which contains his Childe Harold. We wish we could make room for the three original pieces by a friend, “ To Estrella ;" there is a force and spirit in them which is the best charm of lyric poetry: the first and third appear to us decidedly superior to the second, which has less beauty and tenderness, and is little less exceptionable than Moore's poem on the same subject. We are always concerned to see warmth and indelicacy confounded; they are feelings as distinct as the love of Adam, and the passion of the Giaour for Leila.

We have already observed, that the commonest subjects are usually the most pleasing, when they are judiciously treated. Nothing can be more natural and interesting than the following little poem, though the subject is one of the most hackneyed on which verse is employed.

Paulus, 83. iij. 102.
On a Daughter who died young. B.
“Sweet maid, thy parents fondly thought

To strew thy bride-bed, not thy bier;
But thou bast lelt a being fraught

With wiles, and toils, and anxious fear.

For us remains a journey drear,
For thee a blest eternal prime,

Uniting, in thy short career,

Youth's blossom with the fruit of time.” P. 286. Bion and Shakspeare have immortalized the loves of Venus and Adonis, and we were, therefore, rather surprised to find this acknowledged favourite of the goddess omitted in the following stanza, which, in other respects, may be placed in the same page with Prior’s numerous jeux d'esprits on the same subject. In the Greek, the “flint-hearted boy" takes his proper station with Anchises and Paris.

UNCERTAIN, 247. iii. 200. Exclamation of Venus on seeing her Statue by Praxiteles. M.

“My naked charms! The Phrygian swain,

And Dardan boy-to those I've shown them,
And only those, of mortal strain,

How should Praxiteles have known them?" P. 372. At p. 403. is a note on the god of sleep, where the age, under which this divinity has been usually represented by the ancients, is discussed. The distinction made between Somnus and Morpheus seems rather fanciful. It is supposed that Morpheus, always represented as an old man," is alone the proper image of the sleep of the living;” and that Somnus, figured under the character “of a boy, or rather of a beautiful youth,” is “ le sommeil éternel, image du sommeil, ou de la mort. We cannot reconcile this appropriation of the duties assigned to the two deities with the following passage in the Metamorphoses of Ovid, where Morpheus is sent by Somnus, at the suggestion of Juno, to inform Halcyone of the fate of Ceyx.

“ Pater e populo natorum mille suorum
Excitat artificem simulatoremque figuræ
Morphea. Non illo jussos solertius alter
Exprimit incessus, vultumque modumque loquendi.
Adjicit et vestes, et consuetissima cuique
Verba, sed hic solos homines imitatur, &c.

Præterit hos senior: cunctisque e fratribus unum
Morphea, qui peragat Theumantidos edita, Somnus
Eligit.” Lib. ii. 633.

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