POETICAL FRAGMENTS

PARODIES.

56. "Hermippus also, the poet of the old Comedy, composed parodies. But the first writer of this kind who ever descended into the arena of theatrical contests was Hegemon, and he gained the prize at Athens for several parodies; and among them, for his Battle of the Giants. He also wrote a comedy in the ancient fashion, which is called Philinna. Eubœus also was a man who exhibited a good deal of wit in his poems; as, for instance, speaking about the Battle of the Baths, he said—

They one another smote with brazen ἐγχείῃσι,

[as if ἐγχεία, instead of meaning a spear, were derived from ἐγχέω, to pour in.] And speaking of a barber who was being abused by a potter on account of some woman, he said—

But seize not, valiant barber, on this prize,Nor thou Achilles....[143]

But seize not, valiant barber, on this prize,

Nor thou Achilles....[143]

And that these men were held in high estimation among the Sicilians, we learn from Alexander the Ætolian, a composer of tragedies, who, in an elegy, speaks as follows:—

The man whom fierce Agathocles did driveAn exile from his land, was nobly bornOf an old line of famous ancestors,And from his early youth he lived amongThe foreign visitors; and thoroughly learntThe dulcet music of Mimnermus' lyre,And follow'd his example;—and he wrote,In imitation of great Homer's verse,The deeds of cobblers, and base shameless thieves,Jesting with highly-praised felicity,Loved by the citizens of fair Syracuse.But he who once has heard Bœotus' song,Will find but little pleasure in Eubœus."

The man whom fierce Agathocles did drive

An exile from his land, was nobly born

Of an old line of famous ancestors,

And from his early youth he lived among

The foreign visitors; and thoroughly learnt

The dulcet music of Mimnermus' lyre,

And follow'd his example;—and he wrote,

In imitation of great Homer's verse,

The deeds of cobblers, and base shameless thieves,

Jesting with highly-praised felicity,

Loved by the citizens of fair Syracuse.

But he who once has heard Bœotus' song,

Will find but little pleasure in Eubœus."

57. After all this discussion had been entered into on many occasions, once when evening overtook us, one of us said,—Boy, bring a light (λύχνειον). But some one else used the word λυχνεὼς, and a third called it λοφνίας, saying that that was the proper name for a torch made of bark; another called it πανός; and another φανός.—This one used the word λυχνοῦχος, and that one λύχνος. Some one else again said ἐλάνη, and another said ἕλαναι, insisting on it that that was the proper name for a lamp, being derived from ἔλη, brightness;and urging that Neanthes used this word in the first book of his History of Attalus. Others, again, of the party made use of whatever other words they fancied; so that there was no ordinary noise; while all were vying with one another in adducing every sort of argument which bore upon the question. For one man said that Silenus, the dictionary-maker, mentioned that the Athenians call lamps φανοί. But Timachidas of Rhodes asserts that for φανὸς, the word more properly used is δέλετρον, being a sort of lantern which young men use when out at night, and which they themselves call ἕλαναι. But Amerias for φανὸς uses the word γράβιον. And this word is thus explained by Seleucus:—"Γράβιον is a stick of ilex or common oak, which, being pounded and split, is set on fire, and used to give light to travellers. Accordingly Theodoridas of Syracuse, in his Centaurs, which is a dithyrambic poem, says—

The pitch dropp'd down beneath the γράβια,As if from torches.

The pitch dropp'd down beneath the γράβια,

As if from torches.

Strattis also, mentions the γράβια in his Phœnician Women."

58. But that what are now called φανοὶ used to be called λυχνοῦχοι, we learn from Aristophanes, in his Æolosicon—

I see the light shining all o'er his cloak,As from a new λυχνοῦχος.

I see the light shining all o'er his cloak,

As from a new λυχνοῦχος.

And, in the second edition of the Niobus, having already used the word λυχνοῦχος, he writes—

Alas, unhappy man! my λύχνιον's lost;

after which, he adds—

* * * * *

And, in his play called The Dramas, he calls the same thing λυχνίδιον, in the following lines—

But you all lieFast as a candle in a candlestick (λυχνίδιον).

But you all lie

Fast as a candle in a candlestick (λυχνίδιον).

Plato also, in his Long Night, says—

The undertakers sure will have λυχνοῦχοι.

And Pherecrates, in his Slave Teacher, writes—

Make haste and go, for now the night descends,And bring a lantern (λυχνοῦχον) with a candle furnish'd.

Make haste and go, for now the night descends,

And bring a lantern (λυχνοῦχον) with a candle furnish'd.

Alexis too, in his Forbidden Thing, says—

So taking out the candle from the lantern (λύχνιον),He very nearly set himself on fire,Carrying the light beneath his arm much nearerHis clothes than any need at all required.

So taking out the candle from the lantern (λύχνιον),

He very nearly set himself on fire,

Carrying the light beneath his arm much nearer

His clothes than any need at all required.

PARODIES.

And Eumelus, in his Murdered Man . . . having said first—

A.Take now a pitchfork and a lantern (λυχνοῦχον),

adds—

B.But I now in my right hand hold this fork,An iron weapon 'gainst the monsters of the sea;And this light too, a well-lit horn lantern (λὑχνου).

B.But I now in my right hand hold this fork,

An iron weapon 'gainst the monsters of the sea;

And this light too, a well-lit horn lantern (λὑχνου).

And Alexis says, in his Midon—

The man who first invented the ideaOf walking out by night with such a lantern (λυχνούχου),Was very careful not to hurt his fingers.

The man who first invented the idea

Of walking out by night with such a lantern (λυχνούχου),

Was very careful not to hurt his fingers.

59. But the same Alexis says, in his Fanatic—

I think that some of those I meet will blameFor being drunk so early in the day;But yet I pray you where's a lantern (φανὸς) equalTo the sweet light of the eternal sun?

I think that some of those I meet will blame

For being drunk so early in the day;

But yet I pray you where's a lantern (φανὸς) equal

To the sweet light of the eternal sun?

And Anaxandrides, in his Insolence, says—

Will you take your lantern (φανόν) now, and quicklyLight me a candle (λύχνον)?

Will you take your lantern (φανόν) now, and quickly

Light me a candle (λύχνον)?

But others assert that it is a lamp which is properly called φανὸς. And others assert that φανὸς means a bundle of matches made of split wood. Menander says, in his Cousins—

This φανὸς is quite full of water now,I must not shake (σείω) it, but throw it away(ἀποσείω).

This φανὸς is quite full of water now,

I must not shake (σείω) it, but throw it away

(ἀποσείω).

And Nicostratus, in his Fellow-Countrymen, says—

For when this vintner in our neighbourhoodSells any one some wine, or e'en a φανὸς,Or vinegar, he always gives him water.

For when this vintner in our neighbourhood

Sells any one some wine, or e'en a φανὸς,

Or vinegar, he always gives him water.

And Philippides, in his Women Sailing together, says—

A.The φανὸς did not give a bit of light.B.Well, then, you wretched man, could not you blow it?

A.The φανὸς did not give a bit of light.

B.Well, then, you wretched man, could not you blow it?

60. Pherecrates, in his Crapatalli, calls what we now call λυχνία, λυχνεῖον in this line—

A.Where were these λυχνεῖα made?B.In Etruria.

A.Where were these λυχνεῖα made?

B.In Etruria.

For there were a great many manufactories in Etruria, as the Etrurians were exceedingly fond of works of art. Aristophanes, in his Knights, says—

Binding three long straight darts together,We use them for a torch (λυχνείῳ).

Binding three long straight darts together,

We use them for a torch (λυχνείῳ).

And Diphilus, in his Ignorance, says—

We lit a candle (λύχνον), and then sought a candlestick (λυχνεῖον).

And Euphorion, in his Historic Commentaries, says that the young Dionysius the tyrant of Sicily dedicated, in the Prytaneum at Tarentum, a candlestick capable of containing as great a number of candles asthere are days in a year. And Hermippus the comic poet, in his Iambics, speaks of—

A military candlestick well put together.

And, in his play called The Grooms, he says—

Here, lamp (λυχνίδιον), show me my road on the right hand.

Now, πανὸς was a name given to wood cut into splinters and bound together, which they used for a torch: Menander, in his Cousins, says—

He enter'd, and cried out,"Πανὸν, λύχνον, λυχνοῦχον any light—"Making one into many.

He enter'd, and cried out,

"Πανὸν, λύχνον, λυχνοῦχον any light—"

Making one into many.

And Diphilus, in his Soldier, says—

But now this πανὸς is quite full of water.

And before them Æschylus, in his Agamemnon, had used the word πανός—

* * * * *[144]

61. Alexis, too, uses the word ξυλολυχνούχου, and perhaps this is the same thing as that which is called by Theopompus ὀβελισκολύχνιον. But Philyllius calls λαμπάδες, δᾷδε. But the λύχνος, or candle, is not an ancient invention; for the ancients used the light of torches and other things made of wood. Phrynichus, however, says—

Put out the λύχνον,* * * * *

Put out the λύχνον,

* * * * *

Plato too, in his Long Night, says—

And then upon the top he'll have a candle,Bright with two wicks.

And then upon the top he'll have a candle,

Bright with two wicks.

And these candles with two wicks are mentioned also by Metagenes, in his Man fond of Sacrificing; and by Philonides in his Buskins. But Clitarchus, in his Dictionary, says that the Rhodians give the name of λοφνὶς to a torch made of the bark of the vine. But Homer calls torches δεταί—

The darts fly round him from an hundred hands,And the red terrors of the blazing brands (δεταὶ),Till late, reluctant, at the dawn of day,Sour he departs, and quits th' untasted prey.[145]

The darts fly round him from an hundred hands,

And the red terrors of the blazing brands (δεταὶ),

Till late, reluctant, at the dawn of day,

Sour he departs, and quits th' untasted prey.[145]

TORCHES.

A torch was also called ἑλάνη, as Amerias tells us; but Nicander of Colophon says that ἑλάνη means a bundle of rushes. Herodotus uses the word in the neuter plural, λύχνα, in the second book of his History.

Cephisodorus, in his Pig, uses the word λυχναψία, for what most people call λυχνοκαυτία, the lighting of candles.

And Cynulcus, who was always attacking Ulpian, said;—But now, my fine supper-giver, buy me some candles for a penny, that, like the good Agathon, I may quote this line of the admirable Aristophanes—

Bring now, as Agathon says, the shining torches (πεύκας);

and when he had said this—

Putting his tail between his lion's feet,

he left the party, being very sleepy.

62. Then, when many of the guests cried out Io Pæan, Pontianus said;—I wish, my friends, to learn from you whether Io Pæan is a proverb, or the burden of a song, or what else it is. And Democritus replied;—Clearchus the Solensian, inferior to none of the pupils of the wise Aristotle, in the first book of his treatise on Proverbs, says that "Latona, when she was taking Apollo and Diana from Chalcis in Eubœa to Delphi, came to the cave which was called the cave of the Python. And when the Python attacked them, Latona, holding one of her children in her arms, got upon the stone which even now lies at the foot of the brazen statue of Latona, which is dedicated as a representation of what then took place near the Plane-tree at Delphi, and cried out Ἵε, παῖ; (and Apollo happened to have his bow in hand;) and this is the same as if she had said Ἄφιε,Ἵε, παῖ, or Βάλε, παῖ, Shoot, boy. And from this day Ἵε, παῖ and Ἵε, παιὼν arose. But some people, slightly altering the word, use it as a sort of proverbial exclamation to avert evils, and say ἰη παιὼν, instead of Ἵε, παῖ. And many also, when they have completed any undertaking, say, as a sort of proverb, ἰὴ παιὼν; but since it is an expression that is familiar to us it is forgotten that it is a proverb, and they who use it are not aware that they are uttering a proverb."

But as for what Heraclides of Pontus says, that is clearly a mistake, "That the god himself, while offering a libation, thrice cried out ἱη παιὰν, ἵη παιών." From a belief in which statement he refers the trimeter verse, as it is called, to the god, saying "that each of these metres belongs to the god; because when the first twosyllables are made long, ἵη παιὰν, it becomes a heroic verse, but when they are pronounced short it is an iambic, and thus it is plain that we must attribute the iambic to him. And as the rest are short, if any one makes the last two syllables of the verse long, that makes a Hipponactean iambic.

63. And after this, when we also were about to leave the party, the slaves came in bringing, one an incense burner, and another . . . . For it was the custom for the guests to rise up and offer a libation, and then to give the rest of the unmixed wine to the boy, who brought it to them to drink.

Ariphron the Sicyonian composed this Pæan to Health—

O holiest Health, all other gods excelling,May I be ever blestWith thy kind favour, and for all the restOf life I pray thee ne'er desert my dwelling;For if riches pleasure bring,Or the power of a king,Or children smiling round the board,Or partner honour'd and adored,Or any other joyWhich the all-bounteous gods employTo raise the hearts of men,Consoling them for long laborious pain;All their chief brightness owe, kind Health, to you;You are the Graces' spring,'Tis you the only real bliss can bring,And no man's blest when you are not in view,* * * *

O holiest Health, all other gods excelling,

May I be ever blest

With thy kind favour, and for all the rest

Of life I pray thee ne'er desert my dwelling;

For if riches pleasure bring,

Or the power of a king,

Or children smiling round the board,

Or partner honour'd and adored,

Or any other joy

Which the all-bounteous gods employ

To raise the hearts of men,

Consoling them for long laborious pain;

All their chief brightness owe, kind Health, to you;

You are the Graces' spring,

'Tis you the only real bliss can bring,

And no man's blest when you are not in view,

* * * *

64. They know.—For Sopater the farce-writer, in his play entitled The Lentil, speaks thus—

I can both carve and drink Etruscan wine,In due proportion mix'd.

I can both carve and drink Etruscan wine,

In due proportion mix'd.

These things, my good Timocrates, are not, as Plato says, the sportive conversations of Socrates in his youth and beauty, but the serious discussions of the Deipnosophists; for, as Dionysius the Brazen says,—

What, whether you begin or end a work,Is better than the thing you most require?* * * * *

What, whether you begin or end a work,

Is better than the thing you most require?

* * * * *

Footnotes.[109]This is one of the fragments of unknown plays of Euripides.[110]The original text here is very corrupt, and the meaning uncertain.[111]This is parodied from Homer, Iliad, iv. 204,—Ὄρσ', Ἀσκληπιάδη, καλέει κρείων Ἀγαμέμνων.[112]Casaubon says these tools (σκευάρια) were the κρηπῖδες (boots) and κότυλος (small cup) mentioned in the following iambics.[113]This line, and one or two others in this fragment, are hopelessly corrupt.[114]The manes was a small brazen figure.[115]The text here is corrupt, and is printed by Schweighauser—Τοῦ δ' ἀγκυλητοῦ κόσσαβός ἐστι σκοπὸςἘκτεμὼν ἡβῶσα χεὶρ ἀφίετο,which is wholly unintelligible; but Schweighauser gives an emended reading, which is that translated above.[116]See below, c. 54.[117]Iliad, i. 470.[118]Odyss. viii. 170.[119]Schweighauser confesses himself unable to guess what is meant by these words.[120]See the account of this battle, Herod, i. 82.[121]The Gymnopædiæ, or "Festival of naked Youths," was celebrated at Sparta every year in honour of Apollo Pythæus, Diana, and Latona. And the Spartan youths danced around the statues of these deities in the forum. The festival seems to have been connected with the victory gained over the Argives at Thyrea, and the Spartans who had fallen in the battle were always praised in songs on the occasion.—V. Smith, Dict. Gr. Lat. Ant.in voc.[122]Glaucus.[123]The rest of this extract is so utterly corrupt, that Schweighauser says he despairs of it so utterly that he has not even attempted to give a Latin version of it.[124]Ar. Thesm. 458.[125]Phaselis is a town in Lycia. The land which worships Diana is the country about Ephesus and Magnesia, which last town is built where the Lethæus falls into the Mæander; and it appears that Diana was worshipped by the women of this district under the name of Leucophrys, from λευκὸς, white, and ὄφρυς, an eyebrow.[126]The text here is hopelessly corrupt, and indeed is full of corruption for the next seven lines: I have followed the Latin version of Dalecampius.[127]There is some corruption in this name.[128]Hom. Odyss. xx. 17.[129]Ibid. 13.[130]Hom. Iliad, vii. 216.[131]Iliad, x. 96.[132]This is not from any extant play.[133]Hom. Iliad, xxiii. 186.[134]Ibid. xiv. 172.[135]Ibid. xiv. 170.[136]In the Thesmophoriazusæ Secundæ that is, which has not come down to us.[137]Aristoph. Eccl. 1117.[138]Pandrosos, according to Athenian mythology, was a daughter of Cecrops and Agraulos. She was worshipped at Athens, and had a temple near that of Minerva Polias.—Smith, Diet. Gr. and Rom. Biog.[139]It is hardly necessary to say that this beautiful translation is by Lord Denman. It is given also at p. 176 of the translation of the Greek Anthology in this series.[140]This refers to the Alcmæonidæ, who, flying from the tyranny of Hippias, after the death of Hipparchus, seized on and fortified the town Leipsydrium, on Mount Parnes, and were defeated and taken by the Pisistratidæ.—See Herod, v. 62.[141]Hermias was tyrant of Atarneus and Assos, having been originally the minister of Eubulus, whom he succeeded. He entertained Aristotle at his court for many years. As he endeavoured to maintain his kingdom in independence of Persia, they sent Mentor against him, who decoyed him to an interview by a promise of safe conduct, and then seized him and sent him to Artaxerxes, by whom he was put to death.[142]Colabri were a sort of song to which the armed dance called κολαβρισμὸς was danced.[143]This is a parody on Iliad, i. 275,— Μήτε σὺ τόνδ' ἀγαθός περ ἐὼν, ἀποαίρεο κούρην, where Eubœus changes κούρην, maiden, into κουρεῖ, barber.[144]There is a hiatus here in the text of Athenæus, but he refers to Ag. 284,—πέγαν δὲ πανὸν ἐκ νήσου τρίτονἄθωον αἶπος Ζηνὸς ἐξεδέξατο,where Clytæmnestra is speaking of the beacon fires, which had conveyed to her the intelligence of the fall of Troy.[145]Iliad, xvii. 663.

Footnotes.

[109]This is one of the fragments of unknown plays of Euripides.

[110]The original text here is very corrupt, and the meaning uncertain.

[111]This is parodied from Homer, Iliad, iv. 204,—Ὄρσ', Ἀσκληπιάδη, καλέει κρείων Ἀγαμέμνων.

[111]This is parodied from Homer, Iliad, iv. 204,—

Ὄρσ', Ἀσκληπιάδη, καλέει κρείων Ἀγαμέμνων.

[112]Casaubon says these tools (σκευάρια) were the κρηπῖδες (boots) and κότυλος (small cup) mentioned in the following iambics.

[113]This line, and one or two others in this fragment, are hopelessly corrupt.

[114]The manes was a small brazen figure.

[115]The text here is corrupt, and is printed by Schweighauser—Τοῦ δ' ἀγκυλητοῦ κόσσαβός ἐστι σκοπὸςἘκτεμὼν ἡβῶσα χεὶρ ἀφίετο,which is wholly unintelligible; but Schweighauser gives an emended reading, which is that translated above.

[115]The text here is corrupt, and is printed by Schweighauser—

Τοῦ δ' ἀγκυλητοῦ κόσσαβός ἐστι σκοπὸςἘκτεμὼν ἡβῶσα χεὶρ ἀφίετο,

Τοῦ δ' ἀγκυλητοῦ κόσσαβός ἐστι σκοπὸς

Ἐκτεμὼν ἡβῶσα χεὶρ ἀφίετο,

which is wholly unintelligible; but Schweighauser gives an emended reading, which is that translated above.

[116]See below, c. 54.

[117]Iliad, i. 470.

[118]Odyss. viii. 170.

[119]Schweighauser confesses himself unable to guess what is meant by these words.

[120]See the account of this battle, Herod, i. 82.

[121]The Gymnopædiæ, or "Festival of naked Youths," was celebrated at Sparta every year in honour of Apollo Pythæus, Diana, and Latona. And the Spartan youths danced around the statues of these deities in the forum. The festival seems to have been connected with the victory gained over the Argives at Thyrea, and the Spartans who had fallen in the battle were always praised in songs on the occasion.—V. Smith, Dict. Gr. Lat. Ant.in voc.

[122]Glaucus.

[123]The rest of this extract is so utterly corrupt, that Schweighauser says he despairs of it so utterly that he has not even attempted to give a Latin version of it.

[124]Ar. Thesm. 458.

[125]Phaselis is a town in Lycia. The land which worships Diana is the country about Ephesus and Magnesia, which last town is built where the Lethæus falls into the Mæander; and it appears that Diana was worshipped by the women of this district under the name of Leucophrys, from λευκὸς, white, and ὄφρυς, an eyebrow.

[126]The text here is hopelessly corrupt, and indeed is full of corruption for the next seven lines: I have followed the Latin version of Dalecampius.

[127]There is some corruption in this name.

[128]Hom. Odyss. xx. 17.

[129]Ibid. 13.

[130]Hom. Iliad, vii. 216.

[131]Iliad, x. 96.

[132]This is not from any extant play.

[133]Hom. Iliad, xxiii. 186.

[134]Ibid. xiv. 172.

[135]Ibid. xiv. 170.

[136]In the Thesmophoriazusæ Secundæ that is, which has not come down to us.

[137]Aristoph. Eccl. 1117.

[138]Pandrosos, according to Athenian mythology, was a daughter of Cecrops and Agraulos. She was worshipped at Athens, and had a temple near that of Minerva Polias.—Smith, Diet. Gr. and Rom. Biog.

[139]It is hardly necessary to say that this beautiful translation is by Lord Denman. It is given also at p. 176 of the translation of the Greek Anthology in this series.

[140]This refers to the Alcmæonidæ, who, flying from the tyranny of Hippias, after the death of Hipparchus, seized on and fortified the town Leipsydrium, on Mount Parnes, and were defeated and taken by the Pisistratidæ.—See Herod, v. 62.

[141]Hermias was tyrant of Atarneus and Assos, having been originally the minister of Eubulus, whom he succeeded. He entertained Aristotle at his court for many years. As he endeavoured to maintain his kingdom in independence of Persia, they sent Mentor against him, who decoyed him to an interview by a promise of safe conduct, and then seized him and sent him to Artaxerxes, by whom he was put to death.

[142]Colabri were a sort of song to which the armed dance called κολαβρισμὸς was danced.

[143]This is a parody on Iliad, i. 275,— Μήτε σὺ τόνδ' ἀγαθός περ ἐὼν, ἀποαίρεο κούρην, where Eubœus changes κούρην, maiden, into κουρεῖ, barber.

[144]There is a hiatus here in the text of Athenæus, but he refers to Ag. 284,—πέγαν δὲ πανὸν ἐκ νήσου τρίτονἄθωον αἶπος Ζηνὸς ἐξεδέξατο,where Clytæmnestra is speaking of the beacon fires, which had conveyed to her the intelligence of the fall of Troy.

[144]There is a hiatus here in the text of Athenæus, but he refers to Ag. 284,—

πέγαν δὲ πανὸν ἐκ νήσου τρίτονἄθωον αἶπος Ζηνὸς ἐξεδέξατο,

πέγαν δὲ πανὸν ἐκ νήσου τρίτον

ἄθωον αἶπος Ζηνὸς ἐξεδέξατο,

where Clytæmnestra is speaking of the beacon fires, which had conveyed to her the intelligence of the fall of Troy.

[145]Iliad, xvii. 663.

QUOTED BY ATHENÆUS,

RENDERED INTO ENGLISH VERSE BY VARIOUS AUTHORS.

Apollodorus.(Book i. § 4, p. 4.)

Thereis a certain hospitable airIn a friend's house, that tells me I am welcome:The porter opens to me with a smile;The yard dog wags his tail, the servant runs,Beats up the cushion, spreads the couch, and says—"Sit down, good Sir!" e'er I can say I'm weary.—Cumberland.

Thereis a certain hospitable air

In a friend's house, that tells me I am welcome:

The porter opens to me with a smile;

The yard dog wags his tail, the servant runs,

Beats up the cushion, spreads the couch, and says—

"Sit down, good Sir!" e'er I can say I'm weary.—Cumberland.

Archestratus.(Book i. § 7, p. 7.)

I write these precepts for immortal Greece,That round a table delicately spread,Or three, or four, may sit in choice repast,Or five at most. Who otherwise shall dine,Are like a troop marauding for their prey.—D'Israeli.

I write these precepts for immortal Greece,

That round a table delicately spread,

Or three, or four, may sit in choice repast,

Or five at most. Who otherwise shall dine,

Are like a troop marauding for their prey.—D'Israeli.

Archilochus.(Book i. § 14, p. 11.)

Faith! but you quaffThe grape's pure juice to a most merry tune,And cram your hungry maw most rav'nously.And pay for't—not a doit. But mark me, Sirrah!You come not here invited, as a friend.Your appetite is gross;—your god's your belly;—Your mind, your very, soul, incorpsed with gluttony,Till you have lost all shame.—J. Bailey.

Faith! but you quaff

The grape's pure juice to a most merry tune,

And cram your hungry maw most rav'nously.

And pay for't—not a doit. But mark me, Sirrah!

You come not here invited, as a friend.

Your appetite is gross;—your god's your belly;—

Your mind, your very, soul, incorpsed with gluttony,

Till you have lost all shame.—J. Bailey.

Aristophanes.(Book i. § 55, p. 50.)

For the Athenian people neither loveHarsh crabbed bards, nor crabbed Pramnian wines,Which pinch the face up and the belly too;But mild, sweet-smelling, nectar-dropping cups.—Walsh.

For the Athenian people neither love

Harsh crabbed bards, nor crabbed Pramnian wines,

Which pinch the face up and the belly too;

But mild, sweet-smelling, nectar-dropping cups.—Walsh.

Diphilus.(Book ii. § 2, p. 58.)

Oh! friend to the wise, to the children of song,Take me with thee, thou wisest and sweetest, along;To the humble, the lowly, proud thoughts dost thou bring,For the wretch who has thee is as blythe as a king:From the brows of the sage, in thy humorous play,Thou dost smooth every furrow, every wrinkle away;To the weak thou giv'st strength, to the mendicant gold,And a slave warm'd by thee as a lion is bold.—J. A. St. John.

Oh! friend to the wise, to the children of song,

Take me with thee, thou wisest and sweetest, along;

To the humble, the lowly, proud thoughts dost thou bring,

For the wretch who has thee is as blythe as a king:

From the brows of the sage, in thy humorous play,

Thou dost smooth every furrow, every wrinkle away;

To the weak thou giv'st strength, to the mendicant gold,

And a slave warm'd by thee as a lion is bold.—J. A. St. John.

Eubulus.(Book ii. § 3, p. 59.)

Three cups of wine a prudent man may take;The first of these for constitution's sake;The second to the girl he loves the best;The third and last to lull him to his rest,Then home to bed! but if a fourth he pours,That is the cup of folly, and not ours;Loud noisy talking on the fifth attends;The sixth breeds feuds and falling-out of friends;Seven beget blows and faces stain'd with gore;Eight, and the watch-patrole breaks ope the door;Mad with the ninth, another cup goes round,And the swill'd sot drops senseless to the ground.—Cumberland.

Three cups of wine a prudent man may take;

The first of these for constitution's sake;

The second to the girl he loves the best;

The third and last to lull him to his rest,

Then home to bed! but if a fourth he pours,

That is the cup of folly, and not ours;

Loud noisy talking on the fifth attends;

The sixth breeds feuds and falling-out of friends;

Seven beget blows and faces stain'd with gore;

Eight, and the watch-patrole breaks ope the door;

Mad with the ninth, another cup goes round,

And the swill'd sot drops senseless to the ground.—Cumberland.

Epicharmus.(Book ii. § 3, p. 59.)

A.After sacrifice, then came feasting.B.Beautiful, by Jupiter!A.After feasting drink we merrily.B.Charming! I do truly think.A.After drinking, follow'd revelry: after revelry, the whole hog:After the whole hog, the justice: after that the sentence dire:After which, chains, fetters, fines,—all that, and all that, and all that.—J. Bailey.

A.After sacrifice, then came feasting.

B.Beautiful, by Jupiter!

A.After feasting drink we merrily.

B.Charming! I do truly think.

A.After drinking, follow'd revelry: after revelry, the whole hog:

After the whole hog, the justice: after that the sentence dire:

After which, chains, fetters, fines,—all that, and all that, and all that.—J. Bailey.

Bacchylides.(Book ii. § 10, p. 65.)

The goblet's sweet compulsion movesThe soften'd mind to melting loves.The hope of Venus warms the soul,Mingling in Bacchus' gifted bowl;And buoyant lifts in lightest airThe soaring thoughts of human care.Who sips the grape, with single blowLays the city's rampire low;Flush'd with the vision of his mindHe acts the monarch o'er mankind.His bright'ning roofs now gleam on high,All burnish'd gold and ivory:Corn-freighted ships from Egypt's shoreWaft to his feet the golden ore:Thus, while the frenzying draught he sips,His heart is bounding to his lips.—Elton.

The goblet's sweet compulsion moves

The soften'd mind to melting loves.

The hope of Venus warms the soul,

Mingling in Bacchus' gifted bowl;

And buoyant lifts in lightest air

The soaring thoughts of human care.

Who sips the grape, with single blow

Lays the city's rampire low;

Flush'd with the vision of his mind

He acts the monarch o'er mankind.

His bright'ning roofs now gleam on high,

All burnish'd gold and ivory:

Corn-freighted ships from Egypt's shore

Waft to his feet the golden ore:

Thus, while the frenzying draught he sips,

His heart is bounding to his lips.—Elton.

The same.

Thirsty comrade! wouldst thou knowAll the raptures that do flowFrom those sweet compulsive rulesOf our ancient drinking schools—First, the precious draught shall raiseAmorous thoughts in giddy maze,Mingling Bacchus' present treasureWith the hopes of higher pleasure.Next, shall chase through empty airAll th' intolerant host of Care;Give thee conquest, riches, power;Bid thee scale the guarded tower;Bid thee reign o'er land and seaWith unquestion'd sov'reignty.Thou thy palace shalt behold,Bright with ivory and gold;While each ship that ploughs the main,Fill'd with Egypt's choicest grain,Shall unload her pon'drous store,Thirsty comrade! at thy door.

Thirsty comrade! wouldst thou know

All the raptures that do flow

From those sweet compulsive rules

Of our ancient drinking schools—

First, the precious draught shall raise

Amorous thoughts in giddy maze,

Mingling Bacchus' present treasure

With the hopes of higher pleasure.

Next, shall chase through empty air

All th' intolerant host of Care;

Give thee conquest, riches, power;

Bid thee scale the guarded tower;

Bid thee reign o'er land and sea

With unquestion'd sov'reignty.

Thou thy palace shalt behold,

Bright with ivory and gold;

While each ship that ploughs the main,

Fill'd with Egypt's choicest grain,

Shall unload her pon'drous store,

Thirsty comrade! at thy door.

Ephippos.(Book ii. § 30, p. 79.)

How I delightTo spring upon the dainty coverlets;Breathing the perfume of the rose, and steep'dIn tears of myrrh!—J. A. St. John.

How I delight

To spring upon the dainty coverlets;

Breathing the perfume of the rose, and steep'd

In tears of myrrh!—J. A. St. John.

Alexis.(Book ii. § 44, p. 90.)

Mean my husband is, and poor,And my blooming days are o'er.Children have we two,—a boy,Papa's pet and mamma's joy;And a girl, so tight and small,With her nurse;—that's five in all:Yet, alas! alas! have weBelly timber but for three!Two must, therefore, often makeScanty meal on barley-cake;And sometimes, when nought appearsOn the board, we sup on tears.My good man, once so strong and hale,On this fare grows very pale;For our best and daintiest cheer,Through the bright half of the year,Is but acorns, onions, peas,Ochros, lupines, radishes,Vetches, wild pears nine or ten,With a locust now and then.As to figs, the Phrygian treat,Fit for Jove's own guests to eat,They, when happier moments shine,—They, the Attic figs, are mine. —J. A. St. John.

Mean my husband is, and poor,

And my blooming days are o'er.

Children have we two,—a boy,

Papa's pet and mamma's joy;

And a girl, so tight and small,

With her nurse;—that's five in all:

Yet, alas! alas! have we

Belly timber but for three!

Two must, therefore, often make

Scanty meal on barley-cake;

And sometimes, when nought appears

On the board, we sup on tears.

My good man, once so strong and hale,

On this fare grows very pale;

For our best and daintiest cheer,

Through the bright half of the year,

Is but acorns, onions, peas,

Ochros, lupines, radishes,

Vetches, wild pears nine or ten,

With a locust now and then.

As to figs, the Phrygian treat,

Fit for Jove's own guests to eat,

They, when happier moments shine,—

They, the Attic figs, are mine. —J. A. St. John.

Epicrates.(Book ii. § 54, p. 98.)

A.I pray, you, Sir, (for I perceive you learn'dIn these grave matters,) let my ignorance suckSome profit from your courtesy, and tell meWhat are your wise philosophers engaged in,Your Plato, Menedemus and Speusippus?What mighty mysteries have they in projection?What new discoveries may the world expectFrom their profound researches? I conjure you,By Earth, our common mother, to impart them!B.Sir, you shall know at our great festivalI was myself their hearer, and so muchAs I there heard will presently disclose,So you will give it ears, for I must speakOf things perchance surpassing your belief,So strange they will appear; but so it happen'd,That these most sage Academicians sateIn solemn consultation—on a cabbage.A.A cabbage! what did they discover there?B.Oh, Sir, your cabbage hath its sex and gender,Its provinces, prerogatives and ranks,And, nicely handled, breeds as many questionsAs it does maggots. All the younger fryStood dumb with expectation and respect,Wond'ring what this same cabbage should bring forth:The Lecturer eyed them round, whereat a youthTook heart, and breaking first the awful silence,Humbly craved leave to think—that it was round:The cause was now at issue, and a secondOpined it was an herb.—A third conceivedWith due submission it might be a plant.The difference methought was such, that eachMight keep his own opinion and be right;But soon a bolder voice broke up the council,And, stepping forward, a Sicilian quackTold them their question was abuse of time,—It was a cabbage, neither more nor less,And they were fools to prate so much about it.Insolent wretch! amazement seized the troop,Clamour and wrath and tumult raged amain,Till Plato, trembling for his own philosophy,And calmly praying patience of the court,Took up the cabbage and adjourn'd the cause. —Cumberland.

A.I pray, you, Sir, (for I perceive you learn'd

In these grave matters,) let my ignorance suck

Some profit from your courtesy, and tell me

What are your wise philosophers engaged in,

Your Plato, Menedemus and Speusippus?

What mighty mysteries have they in projection?

What new discoveries may the world expect

From their profound researches? I conjure you,

By Earth, our common mother, to impart them!

B.Sir, you shall know at our great festival

I was myself their hearer, and so much

As I there heard will presently disclose,

So you will give it ears, for I must speak

Of things perchance surpassing your belief,

So strange they will appear; but so it happen'd,

That these most sage Academicians sate

In solemn consultation—on a cabbage.

A.A cabbage! what did they discover there?

B.Oh, Sir, your cabbage hath its sex and gender,

Its provinces, prerogatives and ranks,

And, nicely handled, breeds as many questions

As it does maggots. All the younger fry

Stood dumb with expectation and respect,

Wond'ring what this same cabbage should bring forth:

The Lecturer eyed them round, whereat a youth

Took heart, and breaking first the awful silence,

Humbly craved leave to think—that it was round:

The cause was now at issue, and a second

Opined it was an herb.—A third conceived

With due submission it might be a plant.

The difference methought was such, that each

Might keep his own opinion and be right;

But soon a bolder voice broke up the council,

And, stepping forward, a Sicilian quack

Told them their question was abuse of time,—

It was a cabbage, neither more nor less,

And they were fools to prate so much about it.

Insolent wretch! amazement seized the troop,

Clamour and wrath and tumult raged amain,

Till Plato, trembling for his own philosophy,

And calmly praying patience of the court,

Took up the cabbage and adjourn'd the cause. —Cumberland.

Euripides.(Book ii. § 57, p. 101.)

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