HE Greek Anthology is that vast drift

TH

heap of antique poetry, consisting of something like six thousand distinct pieces of verse, which has survived the wreck of empires. Its lyric accretions, in more or less fragmentary condition, extend from first to last over a period of nearly twenty centuries. Imbedded in this mighty maze, (which once was not without a plan,) lie enshrined some of the most exquisite utterances of human love and longing; while in Meleager, the earliest gatherer of old Greek posies, are evidences of that eternal selfrenewing romanticism which binds together bearts of dust with hearts that still throb and burn. Conceivably, also, the lost world of Herondas, the delicate atmosphere of which has been wonderfully recaptured by Marcel Schwob in his Mimes, is precisely the living world depicted in these palimpsests of a vanished past.

Thus much premised it is doubly delightful to come upon an unspoiled specimen of rare poetic scholarship, wherein is made over to us who are neither scholars nor poets save in our appreciation of what such

gifts may mean, a gracious bequest,— this Chrysanthema of old-world song. As if in emulation of the many "unknown masters of the Anthology the name of its author is not to be found save in connexion with this unique series of direct translations. Originally printed in The Nineteenth Century for November, 1878, the little garland was left to time and chance, a marvellous and regrettable instance of literary modesty we could well wish otherwise.

An appropriate addition supplementary to our reprint is in a brief cycle of later lyrical versions rescued by us from the little known volume of poems, Love in Idleness, which was published anonymously in London as far back as 1883. As any adequate setting forth of the history of our theme is impossible here,2 such bibliographical data

1 A final collection by the same friends entitled Love's Looking Glass, (London, 1891,) reveals the composite authorship of both books of verse. The names given are those of H. C. Beeching, J. W. Mackail and J. B. B. Nichols.

2 For collateral reading the following references to The Bibelot may be of service: Fragments from Sappho, I, pp. 107-138; A Flower of Laurium, II, pp. 3-32; Three Greek Idyllists, III, pp. 3-74; Odysseus in Phaeacia, III, pp. 345-366; Echoes from Theocritus, IV, pp. 363-396; Demeter and Persephone, three translations, V, pp. 179-204; Lyrics from Ionica, VII, pp. 119-158.

as we possess is given in a final note. which cannot but prove of great interest to all who care to know more about these survivals of time-wasted loveliness.

"Time and fate could not destroy the blooms of the Anthology, the loveliest Syracusan idyls, the odes of Catullus and Horace;" and, as Mr. Stedman goes on to say, "the word Irreparable suggests a yearning as infinite as that for the Unattainable." 3 It is indeed just this touch of old unhappy far-off things that in the verse we are considering,—this breath from the far distant lying, a faint susurrus of the spirit, that still has power to move us as once it moved the hearts of men and women in the violet land of Greece

"A long while since, a long, long time ago.'

""

3 See The Nature and Elements of Poetry by E. C. Stedman, (Boston, 1892).

FOR FEBRUARY:

CHRYSANTHEMA (CONCLUDED)

A LITTLE CYCLE OF GREEK LYRICS.

FOR MARCH:

STÉPHANE MALLARMÉ

BY ARTHUR SYMONS.