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and prefaces of preceding editors, and the annotations of the very learned editor himself. The text is from Canter.

Pauro, Hag. Com. 4to. 1745, 2 vol. This edition is a republication of the former, with some additions, which have not been considered as greatly augmenting its value.

Two elegant editions were printed at Glasgow in 1746, in 4to. and

12mo.

Schutz, Hal. Sax. 8vo. 1782-99, 3 vol. This edition, though it contains all the plays, is not yet complete, the scholia, fragments, and apparatus historicus being still withheld. It is printed in a commodious form, though not an elegant manner. It contains a collection of various readings from all the preceding editions and some MSS., and is illustrated by an ample commentary. The accuracy of the editor in his report of various readers, cannot, it is said, be depended His commentary is elegant and learned, and highly useful for the illustration of the frequent difficulties of his author. His corrections are commonly ingenious, but perhaps not always necessary. Schutz likewise published an edition without the commentaries, in two volumes, 8vo. with a Latin version, Hal. 1800. In this edition, intended only for the commodious perusal of the author, he has freely admitted some conjectural emendations.

on.

A magnificent edition in folio was surreptitiously and incorrectly printed at Glasgow in 1795, from the text of Professor Porson. His genuine edition was printed in 1794, in two volumes, 8vo. but not published till 1806. It contains, as might be expected, many admirable improvements of the text." It is deeply to be regretted that the notes have not appeared; for we have no hesitation in avowing our decided opinion, that the corrections already published, admirable and unrivalled as they are, exhibit only an imperfect specimen of Mr. Porson's achievements in restoring the text of Eschylus." Monthly Rev. May, 1807, App.

An edition was published at Leipsic in 1805 by Bothe, in which the text is so licentiously altered and corrupted as to be unworthy of perusal.

D.

SELECT TRANSLATIONS FROM THE GREEK ANTHOLOGY.

(Continued.)

FROM ANTIPHANES.

On a Fountain near which a Murder had been committed.

Erewhile my gentle streams were wont to pour
Along their banks a pure translucent tide;
But now their waves are shrunk and channel dried,
And every nymph knows her loved haunt no more,
Since that sad moment, when my verdant shore
Was with the crimson stain of murder dyed.
To cool the sparkling heat of wine we glide,
But shrink abhorrent from the stain of gore.

The

The turn of thought in this epigram evidently depends on the ancient custom of mixing water with wine, in order to cool it. This, which would be considered as no great luxury by most of our countrymen, was so much esteemed in the hot countries of Greece and the Levant, as to have been reduced by the natives to a regular system with all the most refined rules of curious science. In Dr. Barry's work "On the Wines of the Ancients," may be found a very minute account of this cooling process. Several allusions to the custom may be produced from the Anthology, particularly the epigram which Prior has thus imitated...

Great Bacchus, born in thunder and in fire,
By native heat asserts his dreadful ire;
Nourish'd near shady rills and cooling streams,
He to the nymphs avows his amorous flames.
To all the brethren at the Bell and Vine,

The moral says, "" mix water with your wine."

A passage in Aristanetus will give some idea of the extent of refinement to which this luxury was sometimes carried. A lover is describing the pleasures of a day passed alone with his mistress in a beautiful country-retreat, which a friend had lent him for the purpose. As they wandered at evening through a shady valley, a small stream of cold and transparent water, unobserved before, glided by their feet and interrupted their progress. Down this "infant current" a "fleet" of drinking vessels, formed like ships, and filled with the 'most delicious wine, sailed before their eyes. The master of the garden had planned this agreeable entertainment, unknown to his guests, and managed it with the most skilful delicacy.

For where they loaded the nectareous fleet,
The goblet glow'd with too intense a heat;
Cool'd by degrees in these convivial ships,
With nicest taste it met our thirsty lips.

Aristan, translated by Sheridan, &c. 1771. Ep. 3.

A still further refinement on the luxury was, that the very leaves, which formed the sails of these little vessels, were of such medicinal virtue, that the lovers might indulge, without apprehension of consequences, in the intoxicating beverage.

From Strato the Sardian.

Oh, how I loved, when, like the gorgeous sun,

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Firing the Orient with a blaze of light,

Thy beauty every lesser star outshone!

Now o'er that beauty steals the approach of night.

Yet, yet, I love! Tho' in the western sea

Half sunk, the day-star still is fair to me.

This exquisitely beautiful epigram reminds me of that of Paul the Silentiary, inserted in p. 75 of my Translations, and which gave me occasion to introduce the reply of M. de Nivernois to the verses which accompanied the offering, made by Madame de Mirepoix, of a lock of her grey hair. Those verses are hardly inferior to the reply. They have, perhaps, less point, but are by no means deficient in the spirit of gaiety and tenderness which characterizes the former. I have attempted a translation of them, which, by way of variety, I will insert in this place.

Look, they are grey-but turn'd to grey

These locks our union's date attest;
Poor spoils that age can tear away,
Which leaves us yet in friendship blest.
No change in friendship's star appears,
Whose lustre, as in early prime,
Shines in the winter of our years,

Kindled by choice, and fed by time.
No more the world our flame approving,
Shall force our bosoms to repress it :
Grey hairs, besides the charm of loving,
Allow the freedom to confess it.

ACCOUNTS OF, AND EXTRACTS FROM, RARE AND

CURIOUS BOOKS.

AN ACCOUNT OF THE BODLEIAN MS. TERENCE.

(Continued from p. 135.)

So much for general remark: now to be a little more particular.— It should, then, seem, that Dr. Bentley had not used this MS. when his edition of these Plays was published. I have collated, therefore, the first Scene in the Bodl. Terence with Dr. Bentley's edition, and leave the result of the comparison with the reader, that he may form his own conclusion on the worth of the manuscript.

B. v. 5. iis. B. M. his. B. 8. Ego postquam te emi, a parvulo ut semper tibi. B. M. Ego postquam te emi a parvulo, ut semper tibi. B. 13. Haud muto. Sos. Factum gaudeo. B. Si. Haud muto factum. Sos. Gaudeo, &c. B. 15. Quasi exprobratio est inmemori benefici. B. M. inmemoris beneficii. B. 18. quid est quod. B. M. Quid est quid. B. M. 24. no, ac. B. 32. et tamen omnia hæc. B. M. et tamen hæc omnia. B. 33. nam id ego arbitror. B. M. nam id arbitror. B. 35. cum quibus erat cumque una, iis sese dedere. B. M. cum quibus erat, cumque una iis sese dedere. B. 38. ita facillime. B. M. ita ut facillime. B. 45. huc viciniæ. B. M. huic viciniæ. B. 48. lana ac tela. B. M. lana et tela. B. 52.

rant.

dein. B. M. dehinc. B. Phædrum aut Cliniam aut Niceratum dicebant. B. M. Phædram aut Cliniam dicebant aut Niceratum. B. 60. symbolam. B. M. Symbolum. B. 68. Scias posse jam habere. B. M. Scias posse habere jam. B. M. 68. Cum, but altered to tum by a second hand. B. 72. fama hac. B. M. hac fama. B. 75. Placuit: despondi. B. M. Placuit, despondit. B. 74. dictust dies. B. M. dictus est dies. B. 76. Quid igitur obstat, cur non fiant. B. M. quid obstat cur non veræ fiant. B. 80. qui amaB. M. qui amabant. B. 81. Curabat una funus: tristis interim. B. M. curabat una funus tristis, interim. B. 85. quid mihi hic faciat patri. B. M. quid hic mihi, &c. B. 85. ingeni. B. M. ingenii. B. 91. forma bona. Sos. fortasse. M. forma. Sos. bona fortasse. B. 93. ut nil supra. B. M. ut nihil supra. B. 74. quæ tum mihi, &c. B. M. quæ cum mihi, &c. B. 99. hæc illæ lacrimæ. B. M. hinc illæ lacrimæ. B. 131. impositst. B. M. imposita est. B. 134. satis cum periclo. B. M. satis cum periculo. B. 106. adcurrit. B. M. accurrit. B. 116. damnum. B. M. dampnum. B. 117. 118. 119. clamitans: Indignum facinus: comperisse, Pamphilum pro uxore habere hanc peregrinam. B. M. ad me clamitans, Indignum facinus, comperisse, Pamphilum, &c. B. 125. vivendumst. B. M. vivendum est. B. 129. Injuriast. B. M. injuria est. B. 132. consili. B. M. consilii. B. 138. sed quid opust verbis. B. M. sed quid opus est verbis. B. 138. sin eveniat, quod volo, In Pamphilo ut nil sit moræ, restat Chremes. B. M. Sine eveniat quod volo in Pamphilo, ut nihil sit moræ. B. 149. qui mi. B. M. qui mihi. B. 144. I præ, sequar. B. M. I, præsequar, a mere blunder of the scribe.

Let this suffice for different readings: a word or two next for the masks, and other representations, which exhibit the several characters in the plays for these constitute the great peculiarity, and the principal ornament of this volume.

:

There are prefixed to the Andria 13 masks, which, I suppose, were meant to answer to the 13 characters in the play. These are not like modern masks, which cover only the face. Besides the face, they, like a wig, covered the whole head. And Madame Dacier, when speaking of the ancient masks (for she also found some resembling these in a MS. Terence in the King's Library at Paris) has well observed, that they illustrate the well-known passage in Phædrus,

*

Personam tragicam forte vulpes viderat :

O quanta species, in quit cerebrum non habet.

A fox by chance once saw a tragic mask→
Oh! what a head, he cried, that has no brains!

Further, these masks are made in conformity to the Roman stage, which were full three times as large as ours. A width of mouth,

VOL. IV.

2 H

therefore,

* Les Comedies de Terence traduites en Francois. Par Madame Dacier.

therefore, became necessary to make the voice more sounding, whilst the largeness of the features was reduced by the distance of the actors. This seeming extravagance, then, was not intended to make the performers look ridiculous; they were but natural expedients, well adapted to the place.

Terence's plays being all founded on Grecian manners, copied, or imitated at least from Menander, the actors dresses in this MS. are made conformable to the costume of the Greeks. The slaves appear in short wide jackets, the other characters wear the flowing robe, the Greek pallium. The person speaking the prologue has a branch in his right hand: this is most probably intended for the Cypress; for as dramatic exhibitions were first made, in the time of a pestilence, to avert the divine anger, so did they continue to be acted in their more advanced state in the funeral games. All wear the sock or light-heeled buskin, assigned to Comedy, as the high-heeled buskin the cothurnus was to tragedy. And the mask, the dress, and the whole manner are made aptly to express the character and the passion of the person speaking. Madame Dacier has, in her preface, pointed out several passages in her author, which are illustrated by the designs in her manuscript.

In a former paper I said, that I understood Colman had copied the masks in his translation: this I took from hearsay, and I had not the translation by me at the time: on turning to Colman, I perceive he has only the head of Terence between two masked actors, which he evidently copied from Madame Dacier's frontispiece. He does not, I think, appear to have seen this manuscript. These observations, though trifling, are necessary, in order to preserve an air of correct

ness.

With respect to the learned Madame Dacier, she does not appear, by her own account, to have been much conversant in ancient manuscripts: and had not curiosity enough to examine the MSS. in the King's library till she had finished her translation; when she was informed she ought to see them. But she speaks highly of the MS. alluded to above; and I conclude, from what she says, that the masks and other designs in the Bodleian MS. were copied, either entirely or in part, from that in the King's library at Paris, examined by that lady.

Our plan admits not of particular critiques, and I shall not, therefore, so far attempt to play the critic, as to make a comparison of the readings in the Bodleian MS. with those in Dr. Bentley's edition: and in regard to that sagacious critic himself, one general remark shall suffice:

* Post hunc persona pallaq: repertor honesta,
Es docuit magnumq: loqui.

Hor. Ars Poet. 280.

+ It need surprize nobody to find, that some of Terence's plays were written Ludis funebribus (in the funeral games), when it is recollected that stageplays (ludi scenici) were first introduced among the Romans, in a time of pesti. lence; and that even in their funeral processions players and buffoons were introduced, who supported the character of the deceased, and delivered pertinent passages from dramatic writers. See the Roman Antiquities, a very judicious work, by Dr. Alexander Adams, Rector of the High School, in Edinburgh.

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