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Quam potes hinc tacitus transi, ne forte crabronem

Expergefacias, quem sopor altus habet : Hipponactis enim quæ natos fæva latravit

Ira suos, multa nunc cubat in requie. Sed cave nunc etiam sodes : ex ipsius aula

Ditis adhuc lædunt ignea di&ta viri.

Leonidas on Hipponax. Glide gently by this tomb, for quiet's sake, Lest you the bitter, sleeping hornet wake! For he, whose gibes against his parents glanc’d, Here now the keen Hipponax lies entranc'd ! Beware! for still his fiery words may flow, And wound with rancour in the shades below.

VOU

ranco

ΘΕΟΚΡΙΤΟΥ

EIG TOV AUTOV.

Ο μουσοποιος ενθαδ' Ιππωναξ κειται :
Es jev Troumpos, un TF OTEPXEU TW TULBw.
Ει δ' εσσι κρηγυος τε και παρα Χρηςων
Θαρσεων καθιζευ, κην θελης αποβριξον.

Grotii Versio.

Vates sepultus hic quiescit Hipponax;
Abscede busto, fi quis es mala mente !
Quod fi bonus fis ipse, de bonis natus,
Tutus sedeto: fi libebit et dormi.

See here the bard Hipponax lie;
Hence from his grave; if wicked, fly!
Here rest, if thou in life art pure,
And, if thou wish it, sleep secure.

Hipponax was a native of Ephesus, and he is celebrated by Athenæus as the inventor of parody: but his title to that invention is in some measure controverted by the Abbé Sallier, in his Dissertation on the Origin and Character of Parody, in the Memoirs of the French Academy. Bayle has an article on Hipponax, in which he has collected many curious examples of persons who have suffered from the dangerous severity of literary vengeance. The enmity between the sculptor of Chios and the Ephesian satirist will probably recall to the recollection of

an English reader the similar enmity between those bitter and powerful antagonists, Hogarth and Churchill.

From the flight fragments that remain of Hipponax, I am inclined to believe that his Satires, celebrated as they have been, were inferior in genius, and perhaps in acrimony, to the vindi&ive performance of the English poet, which contains so many beautiful passages, (beautiful both in sentiment and expression, that although good-nature must wish the quarrel which produced it had never existed, the poem is still admirable as a masterpiece of poetical indignation.

NOTE XV. Ver. 326.

Whose very silence cried aloud, Be free !

The passion of the Greeks for liberty was at once proclaimed and nourished by the various honours which they paid to the memory of Harmodius and Aristogiton.

These celebrated young friends had perished in their perilous exploit of delivering Athens from the tyranny of Hipparchus : but the grateful Athenians revered them as the restorers of freedom; and according to the animated expressions of Demosthenes in their praise, the veneration which they received from public gratitude was equal to that of heroes and of gods. The four statuaries, Antenor, Critias, Antigonus, and

Praxiteles, had distinguished themselves, at different periods, in executing · the statues of these favourite public characters. Pliny relates that this work of Praxiteles was carried off by Xerxes, in the plunder of Athens, and restored to that city by Alexander the Great, after his conquest of Persia. Arrian appears so much pleased with this munificence of his

hero to Athens, that he has mentioned the restitution of these interesting statues in two different passages of his History; and exultingly says, in his account of them, “ they are now in the Ceramicus * !" Pausanias asserts that the statues were restored to Athens by Antiochus ; and Valerius Maximus ascribes the honour of their restitution to Seleucus. These contradictory accounts may be reconciled, if we recollect that many statues were executed of these idolized martyrs to freedom; and as it is probable that several of these were carried out of their country by the Persian plunderers, the honour of their restitution might of course be truly ascribed to more than one victorious friend to the arts and monuments of Greece. Sculpture and Poetry seem to have vied with each other in their endeavours to immortalize these young tyrannicides. The Athenian song of Harmodius is proverbially famous; and its potent enthusiasm is thus forcibly described by our learned and eloquent Lowth, in his admirable Prælectiones:

“ Tam vehemens tamque animosum poeseos genus.... permultum “ habuisse momenti necesse est in hominum mentibus, cum ad omnem “ honestatem erigendis tum a scelere absterrendis; maxime vero in fo“ vendo et sustentando illo vigore animi atque generosa az w Tei, quæ “ libertatis et alumna est eadem et custos. Num verendum erat ne “ quis tyrannidem Pisistratidarum Athenis instaurare auderet, ubi in “ omnibus conviviis, et æque ab infima plebe in compitis, quotidie o cantitaretur Exodrov illud Callistrati nescio cujus, sed ingeniosi certe “ poetæ et valde boni civis.... Quod fi poft Idus illas Martias e ty

nus

* Αξικετο δε ες Συσα Αλεξανδρος εκ Βαβυλωνος εν ημέραις εικοσι" και παρελθων εις την πολιν τα τε χρηματα παρελασεν, οντα αργυρια ταλαντα ες πεντακισμυρια, και την αλλην κατασκευης την βασιλικην πολλα δε και αλλα κατεληφθη αυτά, οσα Ξερξης απο της Ελλαδος αγων ηλθε, τα τε αλλα, και Αρμοδια και Αρισογειτονος χαλκαι εικονες και ταυτας Αθηναιος πεμπει οπισω Αληξανδρος, και νυν κεινται Αθηνησιν εν Κεραμεικω αι εικονες.-ARRIAN, de Expedit. Alexandri. lib. iii.

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“ rannoctonis quispiam tale aliquod carmen plebi tradidisset, inque “ suburram, et fori circulos, et in ora vulgi intulisset, actum profecto “ fuisset de partibus deque denominatione Cæsarum ; plus mehercule “ valuisset unum Apuodis ueros quam Ciceronis Philippicæ omnes.”

. : Lowth, Præleftiones, edit. oct. p. 15. To return to the brazen statues.—They gave rise to a very spirited but dangerous repartee of, Antiphon ; who being asked by the tyrànt Dionysius what kind of brass was esteemed the best, replied, “ That “ which forms the statues of Harmodius and Aristogiton."

NOTE XVI. Ver. 398.

The future sunshine of a fairer hour.

Among the infinite number of interesting personal anecdotes which the history of ancient sculpture displays, there are hardly any more pleasing to the fancy, or more calculated to exhibit the Grecian character in a favourable point of view, than the anecdotes preserved by Pausanias, concerning the Athenian women and their children, who having found a friendly refuge in the walls of Træzene, when the Persian invasion reduced them to the necessity of Aying from their native city, had their statues erected in a portico of the Træzenian Forum. I presume that these statues were a present from the people of Athens. They were such memorials as every patriot of Greece must have contemplated with peculiar delight : they were graceful monuments of Grecian courage, benevolence, and gratitude,

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