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of general and harmonising unity in the poem, is proved to be abso lutely unfounded, and most unskilfully made; is it agreable, or offensive to reason, that Homer should be tried and condemned by "placita" founded on only one half of the canon; and that we should consent, implicitly, to sign the warrant for his execution under such a judgment? Are we intirely to forget, that the greatest learning, when it has deeply implicated itself in system, is no other than dignified error?

Thus then we see the pernicious consequences of attempting to criminate the text of the Iliad by defective and fallacious assumptions, respecting the power of the digamma; and of supporting those attempts by false assumptions, respecting the structure and composition of the poem. We may now see the importance of inquiring both into the Primary Argument of the Iliad, and into the History of the Digamma; and we shall be satisfied, that by the proof of the consistent unity of the poem, and by the proof, that the digamma was, occasionally, as neutral in the Greek metre as the h in the Latin, the Iliad will be justified from more than nine-tenths of the charges of neglect and corruption, which have been so assiduously and passionately preferred against it by Heyne, that he might enjoy the exercise of an Imperial Criticism.

But we must remember the "narcotic influence" of 30 pages. We shall therefore conclude our remarks, with assuring our very learned, but very impatient censor, that we freely fling away all the resentment which he has intitled us to cherish towards the obliquity of his judgment of our Examination; and that we cheerfully justify his natural partiality for his own oikeiov F: of which we may say, certainly with about as much wit as Cicero, Digamma noveram. July, 1822.

"tuum

GRANVILLE PENN.

ADVERSARIA LITERARIA.

NO. XXX.

Verses by Lord Carlisle; to Lady Holland, on the Snuff-box bequeathed to her by Bonaparte.

LADY, reject the gift!-'tis tinged with gore!

Those crimson spots a dreadful tale relate:

It has been grasp'd by an infernal Power,

And by that hand which seal'd young Enghien's fate.

Lady, reject the gift!-beneath its lid

Discord, and Slaughter, and relentless War, With every plague to wretched man, lie hid ;Let not these loose, to range the world afar. Say, what congenial to his heart of stone,

In thy soft bosom, could the Tyrant trace? When does the dove the eagle's friendship own, Or the wolf hold the lamb in pure embrace? Think of that 'pile, to Addison so dear,

Where Sully feasted, and where Rogers' song Still adds sweet music to the perfumed air,

And gently leads each Grace and Muse along :Pollute not, then, these scenes;-the gift destroy; "Twill scare the Dryads from that lovely shade; With them will fly all rural peace and joy,

And screaming Fiends their verdant haunts invade. That mystic Box hath magic power, to raise Spectres of myriads slain-a ghastly band; They'll vex thy slumbers, cloud thy sunny days, Starting from Moscow's snows or Egypt's sand. And ye who, bound in Verdun's treacherous chains, Slow pined to death beneath a base control, Say, shall not all abhor, where Freedom reigns, That petty vengeance of a little soul?

The warning Muse no idle trifler deem :

Plunge the cursed mischief in wide Ocean's flood;

Or give it to our own majestic stream

The only stream he could not dye with blood.

IDEM GRÆCE REDDITUM.

Φόνων ἄδωρα δῶρ ̓ ἀπόῤῥιψον, Χλόη—
τόδ' αἱματῶδες σῆμά πως δεινὸν λαλεῖ
ἔνερθε γᾶς ἐν τοῖσιν ἔχθιστός τις ὢν
κατέρεξε δαίμων, Εγγιάνου μόρσιμον
φανερὸν χαρακτῆρ' αἵματος. Ρίψον, γύναι,
ἄδωρα δῶρ ̓ εἰσαὖθις· ἐν καλύμματι
Αρης, Στάσις τ ̓ ἀνοικτὸς, ἠδὲ καὶ Φόνος,
καὶ Λοιμὸς, ἀνθρώποισι πένθη, λανθάνει
μηδ' αὖ πλάνοιτο τοιάδ ̓ ἐχθίστην πλάνην.
* Η τις λιθώδης συγγενοῦς στήθους πόθος
φονίου τυράννου σήματ' ἰχνεύσει πάλιν ;

Holland House

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φίλοικτον αἰετὸς τίς ὤπασεν χάριν ;
λύκος τίς οἷος τ ̓ ἦν ἀπαλλάξειν φύσιν ;
Τὸ δ ̓ ̓Αδδισώνου δῶμα φίλτατον σέβου
Τῷ Συλλίῳ τε ξεῖν ̓ ὅθ ̓ ἦν· Ρογέρσιος
ἔνθ ̓ ᾠδοποιὸς ὤπασ ̓ εὔοδμον γάνος,
Χαρίτεσσι καὶ Μούσαισιν ἡγήτως γεγώς.
Δρυάδων δὲ μὴ μίαινε φίλτατον τόπον
τὸ δῶρον ἐξάλειψον, ἐκ γὰρ ἐκφύγει
καὶ ταῖσι σὺν Δρυάδεσσιν εἰρήνης χάρις.
Τὰ δῶρ ̓ ἔχει τι μόρσιμον λυγρὸν μένος,
ποιεῖ τε πολλῶν τῶν φονευθέντων χορὸν,
ὕπνον τ ̓ ἄύπνον, ἥλιον τ ̓ ἀνήλιον,

ἀπὸ χειμάτων Μόσχου τέ κ' Αἰγύπτου χθονός.
Ὑμᾶς, τυράννων δουλίοισι δέσμασιν
Ηρδονίοισιν ἐγχραυθέντας, οὐκ ἔχει
τὸ πάντες ἐχθήσουσιν εἰς μίαν φύσιν
πρὸς ἐκδίκησιν ἔχθος εὐγενὲς τυχόν.
Τὴν νουθετοῦσαν Μοῦσαν εὖ λογιζέτω
Εἰς τὴν θάλασσαν ῥίψον ἔχθιστον κακῶν.
Ηδ ̓ ὑδάτων ἄνακτι καλλίστῳ δίδου
ὃς οὔποτ ̓ οἷός τ ̓ ἦν μιαίνεσθαι φόνω.

R. TREVELYAN.

IN a note on Persius, Sat. iii. 9. “ Arcadia pecuaria,” (the droves of Arcadia) Mr. Gifford quotes Marcilius: “ Arcadiæ pecuaria, Asini. Arcadia Asiuorum patria in Græcia. In Italia, Reate." He then adds: "Here is something gained; and as asses are now getting into vogue, some of our travelled gentry, perhaps, may be tempted en passant, to pick up one of them to improve the breed at home.” If Mr. Gifford will confess the truth, he will acknowledge it is whispered, as well in Albemarle street as elsewhere, that of late more than one traveller has brought back an ass from Greece. A very fine one is expected from the banks of the Velino, the neighbourhood of Reate not having lost its ancient reputation. It is remarkable that Pliny ascribes to the Reatine waters the power of hardening certain animal sub

stances.

CUMULUS.

I shall feel obliged to any of your Correspondents who will prove that the word CUMULUS is à pure Latin word; and that it was known to the writers of the Augustan Age. D. B. H.

Ut antea, "Holland House."

Εἰς μνήμην ̔Εῤῥικέττης Ταππαρέλλης, τῆς προτέρας γαμετῆς ἀνδρὸς
εὐγενοῦς ἀγαθοῦ πολυμαθοῦς Προσπέρου Βάλβου.
Κάτθανε πρώθηβος φεῦ ! κάτθανεν ̔Εῤῥικέττη
κεδνή. Πᾶσα γόων ἡ πόλις 'Ηριδανοῦ
ὑψιμέδουσα γέμει· περὶ δὲ στοναχίζεται ὄχθος
ἀγχόθεν ἀμπελοεις ἀντία μουσοπόλων,
τοὶ πολέες θρηνοῦσι, φίλῳ ἐπίηρα φέροντες
ἐσθλῷ τῆς ἐσθλῆς ὠκυμόροιο πόσει.

* Α δείλαι, ἀλόχου χηρούμενε τως τάχα τοίης !
τίς τοι Πιερίδων πρῆξις ὀδυρομένῳ ;
αἰ γὰρ ἄναξ ἐνέρων εἴη μειλικτὸς ἀοιδαῖς,
σῆς χέλυός κε φίλην ᾅδοθεν ἆθλον ἄγοις·
οἷον ἅμ ̓ Εὐρυδίκῃ φασ ̓ ἐλθέμεν Ορφέα, θέλξαι
τλάντα καταχθονίου βλέμμ ̓ ὑλακήν τε κυνός.
̓Αλλ ̓ ἤτοι καὶ κεῖνος ὅμοιον πένθος ἀέξων

μὰψ μόνον οὐρανίοις μέμψατο πολλὰ θεοῖς,
καίτοι Καλλιόπης υἱὸς φίλος εὔχετο εἶναι

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καὶ θῆρας μολπῇ ῥεῖθρά τ ̓ ἐπέσχεν Εβρου.
*Εμπης δ', εἰ θρήνων μετ ̓ ἀπρήκτῳ ἐστὶν ἀνίῃ
σοὶ μέν τις τέρψις, τῇ φθιμένῃ δὲ γέρας,
τίς κεν ἀειδέμεναι, τίς ἀνῄνηται τέον ἄλγος
τῶν ξυνῶν γε φίλων σοί τε καὶ ̓Αονίσι ;
Τοιγὰρ ἀπειρεσίοισι παρ' ἀνθρώποις ἀρίδηλον
σῷ σὺν ἔρῳ θήσεις αἶνον ἀποιχομένης

εἰ δ ̓ ἔτι γ ̓ Αὐσονικοῖσι μετ ̓ ἀρχαίοις τε νέοις τε
καί τις Ιαονίων νῦν χάρις ἐστὶ νόμων,
ἠνίδ ̓ ἐγὼ τούτων πειρήσομαι. Ω ζυγίη δᾷς
σβεννυμένη, καὶ ἔρως ὦ μέλε, ὦ φιλότης,
οἴκτρ ̓ ὀλοφυρώμεσθα· ἀπώλετο Εῤῥικέττη,
σύν τε Σαοφροσύνῃ ὤλεθ' ̔Ομοφροσύνη,
σύν τ' ὄαροι, χάριτές τ ̓ ὤλοντο καὶ ἤπιον ἦθος
πᾶσαν ὄλεσσε τάλας Πρόσπερος ἀγλαίην.
Οὐδ ̓ ὅγε γὰρ κείνης ἐροέσσης δή ποτ' ἀκούσει
αὐλῆς, ἐμπεράμως ἡδὺ μελιζομένης,

θ λξινόου, καὶ ἀκεσσιπόνου πολυγηθέσιν οἶμαις,
οἷα πέλει τέχνης εὔχεα τερψιχόρου.

̔Η γὰρ κέδν εἰδυῖα τὰ μουσικὰ τέθμια πασέων
ἔγνω θηλυτέρων ἔξοχ ̓ ἀριπρεπέων.

δάκτυλα δ' εὖ νώμα λαιψηρὰ, μαθόντα λιγαίνειν
κρουματικῆς σοφίης τεύχεσι καινοτέροις.

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The author of these Greek and Latin elegiacs is the celebrated Thom.

Valperga, Abbot of Caluzo. ED.

Καὶ γὰρ ἐναρμόνιον θεόθεν λάχεν ἔξοχα ψυχὴν
εὖ ῥυθμιζομένην οὐρανίοισι λόγοις,
οἵ ρα σὺν αρμονικοὺς κεκράανται κατ ̓ ἀριθμοὺς,
μῦθον ἵν ̓ Εὔφορβος Πανθοΐδας λέγω.
Πανθοΐδη, μετέπειτα Σάμῳ ἔνι Πυθαγόρα φὺς
οὐχ ὡς οὐνόματος, σῶν ἀκοῶν μετέχω.
οὐδὲ περὶ ξυνίημι μετάρσιον ᾆσμα πολούντων
τῆλε μάλ' ἀπλανέων ἀϊδίων τε πλάνων
ἀλλ ̓ ἀΐω τιν, ἀραιὸν ἐν οὔασιν, ἐν φρεσὶ δ ̓ ὀξὺν,
ἀμβρόσιον νύμφης φθόγγον ἐπουρανίης·

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“ Εἰμὶ μάκαρ τί γόων οὐ λήγετε; Προσπέρῳ εἰπὲ
ὡς αἰνοῦσα ἴδον μ' εἰσέτι μυρόμενον·

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καὶ γὰρ καίπερ ἄσαρκος, ἀθέσφατον ὄλβον ὁρῶσα,
τῇ στοργῇ χαίρω κουριδίοιο φίλου.

Αὐτὰρ ἅλις δακρύων· τί μοι οὕτω τήκεται ἄλλως ;
σμικροὺς ἡμετέρους παῖδας ἄθυρμ ̓ ἐχέτω.

Αὐτὸς ἄριστος μητρὸς ἐμεῖο παρήγορος ἔστω·
ἄμφω δὲ ζήτων μνήμονέ μευ, ἱλαρώ.”

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Πρόσπερε, τῇ κυδρῇ σύ γε πείθεο· τῆς ἐπὶ τύμβῳ
ἡμεῖς δὴ τάδ ̓ ἔπη γράψομεν ἀτρεκέα·

σε

« Αἰνητὴν πάντεσσι μάλιστα δὲ τοῖς ἐπέοικεν,

ἡδ ̓ ̔Εῤῥιχέττην χθὼν ἱερὴ κατέχει,

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ἀνδρὶ φίλῳ τρία καλὰ λιποῦσαν τέκνα, λοχείης
πρόσφατον ἐκ τριτάτης, ἐννεακαιδεκέτιν,

Memoria Henrichetta Tapparella, Prima Uxoris Prosperis
Balbi, Viri genere, literis, moribus, institulis eximii.
Occidit heu! primæ fulgens in luce juventæ
Henrichetta. Omnis sceptrigera Eridani

Urbs luctum fovet; ingeminat inoerentia contra
Carmina vitiferis ripa propinqua jugis,
Munere quo ratum obsequitur pia turba marito
Eximio eximiæ præpropere occiduæ.
Ah miser! ah! tali dum ploras compare ademta
Tam cito, Pieridum quid tibi præstet amor?
Namque utinam fidibus foret exorabilis Orcus;

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Inde foret fidibus sponsa recepta tuis;

Fertur ut Eurydicen conjux testudine fretus
Quæsisse, haud Stygium territus ante canem.
In luctu sed enim parili conquestus et ille est
Tantum cum superis irrita multa deis,
Quamvis Calliope natus Permesside, quamvis
Carmine sæpe feras, flumina sæpe morans.

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