The Greek Anthology in France and in the Latin Writers of the Netherlands to the Year 1800

Table of contents :
PREFACE
CONTENTS
INTRODUCTION
LATIN WRITERS (FRANCE)
LATIN WRITERS (NETHERLANDS)
REGISTER
INDEX

Citation preview

CORNELL STUDIES IN CLASSICAL PHILOLOGY Edited by HARRY CAPLAN, JAMES HUTTON, H. L. JONES, and

FRIEDRICH SOLMSEN

VOLUME XXVIII THE GREEK ANTHOLOGY IN FRANCE AND IN THE LATIN WRITERS OF THE NETHERLANDS TO THE YEAR 1800

By 'James Hutton

*

THE GREEK ANTHOLOGY IN FRANCE AND IN THE LATIN WRITERS OF THE NETHERLANDS TO THE YEAR 1800

BY JAMES HUTTON Professor of the Classics in Cornell Uniuersity

ITHACA, NEW YORK

CORNELL UNIVERSITY PRESS 1946

Copyright, I946, by Cornell University

CORNELL UNIVERSITY PRESS LONDON: GEOFFREY CUMBERLEGE OXFORD UNIVERSITY PRESS

* Printed in the United States of America, by George Banta Publishing Company, Menasha, Wisconsin

To LANE COOPER Professor Emeritus of the English Language and Literature in Cornell University

*

FOR THE MEANS of defraying a part of the expense of publishing this volume the Editors are indebted to a grant from the income of the Charles Edwin Bennett Fund for Research in the Classical Languages, a fund created at Cornell University in 1924 by Lawrence Bennett of the Class of 1909 in memory of his father •

•

PREFACE This book comprises a second repertory of translations and echoes of the Greek Anthology in modern letters, having been preceded by The Greek Anthology in Italy (Ithaca, Cornell University Press, 1935). As explained in the Preface to the earlier work, my original object in these studies was to set up in as much detail as possible the Continental background for a future study of the Anthology in English literature; but the present work has been conducted as having an end in itself, and is, so far as I can make it, a complete account of the fortunes of the Greek epigrams in France and in the Latin writers of the Netherlands to the end of the eighteenth century. Only thus, I believe, by making as clean a sweep as possible down the main highway of literature since the Renaissance, can the investigation of classical sources be withdrawn from uncertainty and placed upon something like a solid footing. We wish not merely to know that such and such a theme used by a modern writer came to him ultimately from a classical source, but to know precisely where he found it and in what shape. Such knowledge is fundamental to the proper valuation of any writer, above all in the sixteenth century in the heyday of Imitation. Particularly with respect to Greek themes, at a time when nearly all writers found them attractive and only some knew Greek, dependence upon intermediaries, commonly upon the modern Latinists, was almost the rule. If, then, all the descendants of a given theme could be called together and compared, we might with considerable assurance assign each to its position in the genealogy; but such perfection being hardly attainable, the best we can do is to proceed in the order of time and make our collection as large as possible as we go. In this way one will have the satisfaction of seeing a considerable number of literary relationships spring to light, as it were, spontaneously. The Anthology, containing a great variety of attractive themes expressed in the clear-cut and simple form of the epigram, may well offer an unusually good opportunity for the application of this method. After the sixteenth century the importance of these relationships somewhat diminishes, and, for the history of the Greek epigrams, significance shifts rather to the critical estimation in vii

viii

PREFACE

which they were held. By extending our study, therefore, to the end of the eighteenth century, we are enabled to see the Anthology subjected to some very sharp changes in French, and hence in European, literary opinion. Incidentally, too, we thus bring our account to the point at which the Planudean Anthology disappears from common usage to be replaced by the Palatine form of the collection. Doubtless the attempt to span three centuries of modern literature still further lessens the chances of a complete control of the material; but I am hopeful that, of the material existing in printed form, at least a sufficient portion has been digested in this and in the preceding volume to make an intelligible frame in which subsequent discoveries may find a place and hence an interest and a meaning. In one aspect or another the subject here dealt with has attracted attention since the Renaissance. As soon as translations of the Greek epigrams began to multiply, the impulse was created to gather them into collections; and to the published collections, from Johann Heyl's Epigrammata Graeca (Cologne, 1525) to Henry Wellesley's Anthologia Polyglot/a (London, 1849), the present study owes something; it owes perhaps more to the sixteenthcentury scholar (probably Jan Casteels) who brought together in manuscript notes an extraordinary number of Latin translations within the pages of a copy of Brodeau's Anthologia of 1549, now in my possession. Without his help I should have missed a number of translators, particularly among those of Holland; and it is some satisfaction to think that his considerable labors undertaken so long ago (and frustrated, it seems, by the Spanish wars) now prove to have been not altogether in vain. The subject interested several scholars of the eighteenth century, as D'Orville, De Bosch, and Chardon de Ia Rochette, and in the last century we hear of extensive collections made by Claude Breghot du Lut and by Pierre Herbert (E. Jovy, Pierre Herbert et ses travaux inCdits sur l'Anthologie de Planude, Vitry-le-Fran~ois, 1899, p. 9). The influence of the Anthology in a wider sense detained Sain te-Beuve in several Lundis, and was discussed in a well-informed essay by Charles des Guerrois (Etude sur l' Anthologie grecque, Troyes, 1896). It also occupied several chapters in Egger's durable Hellenisme en France (Paris, 1869). More recently the action of the Greek epigrams has been studied piecemeal in connection with various French authors, as Ronsard, Baif, Andre Chenier, and Heredia, but has not been treated as a whole, unless by way of a brief and inaccurate sketch in the Introduction to Maurice

PREFACE

IX

Rat's translation (dnthologie grecque, Paris, Garnier, [1939]). The collecting of materials for the present study was virtually ended in the summer of 1939; and the completed manuscript was sent to the printer at the end of 1944- Accordingly it has been impossible to take account of such work as has appeared in France during the war. I have not seen, for example, Frederic Lachevre's Franfois Roussin, Le Petit CEuvre d'dmour et Gaige d'dmytU, Paris, 1941 (see below, p. 309), nor Volumes 5 and 6 of Pierre Waltz's dnthologie grecque, Paris, 1941, 1944-an edition that ably maintains for the countrymen of Brodeau, Estienne, Saumaise, and Brunck an almost national mission for the text of the Anthology. My best thanks are due to a number of friends for their generous assistance. For looking through the proofs and making many valuable suggestions, I am indebted to Professor Harry Caplan of Cornell University, Professor Marcel Fran.~Pit' in Plan. I.II.I (.d.P. 9.266), both of which are in Aldus's 'E,..,a, 28 E.g., Plan. 1.5.9·7 (A.P. 9.461) has o_,.q,..,, Obsop. O.Vfxm, Pal. Q.,fxrtrs. 24 On Obsopoeus see A nth. in Ita/., p. 2-86. Brodeau's notes on Book 7 are rather scant; among them is a reference to Boccaccio (p. 61o). 15 Preface of the Wechel ed., Frankfort, 1600. We are not told where the lacuna was. 26 E.g., p. '-• citation of Homer, Virgil, and scholia on Pindar; p. 8, citation of Theophylact. 17 Maittaire, Ann. Typ. 2.356: 'In mei Epigrammat. Graecor. ann. 1549 exemplaris fronte aliquis adscripsit haec: "Hae annotationes, si tamen recte conjicio, olent Jacobi Tussani lucernam; quicquid tandem male feriatus Brodaeus sibi adscribit."' Cf. Jacobs, Proleg., p. cix, note, who justly rejects the allegation.

BRODEAU; GUILLON; GORRIS

101

as Auge-Chiquet has said, remarkable only for their wealth of parallel quotations. 28 But such similarities will convict no one of plagiarism, and indeed we have no evidence to connect Brodeau with Toussain in any capacity. He does not mention Toussain in his Notes. RENE GUILLON (15oo-I57o) Guillon, a pupil of Bude, and favorably known as a grammarian, was born at Sainte-Osmane in Bas-Vend&mois. A Greek epigram from his hand was printed at the end of Ronsard' s Amours of I 5p.29 He translated !socrates' Epistles into Latin (Paris, I547), and in IS48 published two brief treatises on Greek and Latin prosody, each entitled Gnomon, and a third called De Generibus carminum graecorum. Other works are De Dialectis verborum et nominum (Paris, I56I), Tabulae monstrantes viam qua itur in Graeciam (ibid., I 567), Lysiae Dejensio super caede Eratosthenis, Gr. and Lat., (ibid., Bienne, I577), and a Commentary for Clenardus' lnstitutiones, published in the edition of I6o6. 30 The Anthology supplies four examples in Guillon's Greek Gnomon. 31 Two (A.P. 9.489 and 515) serve to demonstrate the rules of elegiac verse, while two others (A.P. 9·357 and 10.44) illustrate matters of quantity. Each is accompanied by a versetranslation, A.P. 9.489, for instance, being rendered thus: Filia grammatici peperit congressa marito Masculeum neutrum foemineumque genus. The following version by Guillon of A.P. 6.256 is here reproduced from a copy of the I 549. Anthology described below, (p. 397) :32 Tauri profundum tendinem, tum ferreos Atlantis humeros atque caesariem Herculeam, Barham gravem trucesque leoninos oculos Milesii gigantis, haud Olympicus luppiter alias interritus vidit, viros Quum Nicophon vicit pugil in Olympia. JEAN DE GORRIS (1505-1577) Son of a distinguished physician Pierre de Gorris, Jean was born in Paris and there educated. In I 537 he was procurator of the French 'Nation' at the University. Having become a Calvinist he was dismissed Auge-Chiquet, jean-Antoine de Baif, p. 24. Another at the beginning of the odes of Gervase Sepinus, Erotopaegni/Jn libri Ires, Paris, I 553· so La Croix du Maine; N.B.G. 31 References are to the augmented edition published by Wechel in 1556. Nothing from the Anthology is found in De Generibus or the Latin Gnomon. Versions of A.P. IO.II2 and II5 by Guillon, printed in Selecta quaedam de moribus epigrammata (below, p. 144), may have been taken from his De Dialectis which I have not seen. il2 Guillon's verses are on the interfoliation opposite p. 3: Renatus Guillonius. 28

29

102

LATIN WRITERS (FRANCE)

by the medical faculty, whose dean he had been in 1548-9. Reinstated by Charles IX in 1563, he was again dismissed, and was again reinstated by the king in 1571. Towards the end of his life, while on his way to attend the Bishop of Paris at Melun, he was so agitated by the approach of a band of soldiers that he suffered a paralytic shock which ended his active career. He produced a number of commentaries on or translations of Hippocrates, Nicander, and Galen, and was the author of some esteemed Latin poems. His Opera were edited by his son Jean, Paris, 1622.83

Jean de Gorris is represented in Duchesne's Farrago Poematum, Paris, 156o, by fifty-seven translations from the Anthology, mostly from the declamatory and moral epigrams. 34 They are seldom above the ordinary level either in faithfulness to the original or in skill of phrasing. Thus the first distich of his version of A.P. 9.16 (Meleager) is unnecessarily vague:35 Tres Charites totidemque habitu sunt virginis Horae: Insano quarum raptor amore miser. Me ternis stimulavit Amor fixitque sagittis, Tanquam non unum sed tria corda geram.

Better is his treatment of A.P. 9.523, an anonymous couplet on an unknown warrior: Calliope, custos facunda Heliconis, Homerum Nunc alium parias, alius quia venit Achilles.

In all, he translates A.P. 6.256; 9.3, 5, 12, 13.3-8, 15--'6, 39, 43, 54-6, 61, 71, 99, 108, IIO, 115, 127, 148, 158, 162, 165, 177, 204, 221,230-1,248,293,323-4,354,359-60,367,375,386 ,391,437·7, 468-9,496,517-8,523,557,561, 573; I0-73-4, 116; 11.49, 61, 72, 241; 16.1, 3· GUILLAUME POSTEL (1505-1581) On this well-known Oriental scholar and religious enthusiast see G. Weill, De Gulielmi Postelli uita et indole, Paris, 1892; A. Lefranc, Histoire du College de France, Paris 1893, esp. pp. 184-201; and Sir Geoffrey Butler, Studies in Statecraft, Cambridge, 1920.

In a copy of the Basel Anthology of I 549 now in my possession (see below, p. 297) there is written the following translation by 13 Niceron, Mlm. 32.25 from Du Boulay, Hist. de /'Universitl. See also Sainte-Marthe, E/og. doct. Gall., and Maujet, Bib/. script. med. u On Duchesne's book see below, p. I IS· A number of Garris' versions were reprinted by Henri Estienne in his Epigrammata Graua (below, p. I34), and some few again in the anonymous !ftuaedam de moribus Epigrammata (below, p. I44). 36 Tp•uual ,..& Xap•T•s, Tplis ~~ "'fAVKlJ'Ira/)t)•vo• "llpa.· Tp{is ~· ~~ fJ7JAV/-14PE£S ol.crTpofjo)\ovcn II6fJo•.

POSTEL; ROILLET, MORISOT

IOJ

Postel of the first epigram in the Planudean recension (.d.P. 9·357)· 36 Graecia habet certamina his duo, his duo sacra: Haec duo sunt hominum, haec duo sunt superum. Hoc lovis, hoc Clarii, hocque Palaemonis, Archemorique hoc; Praemia sunt oleae, mala, selina, pitys.

CLAUDE ROILLET or ROUILLET (c. I5oo-c. I576) Roillet was born at Beaune, and at the age of eleven was sent to Paris for his education. In 1536 he was principal of the College de Bourgogne; a little later, principal of the College de Boncourt. In 1560 he was rector of the University. He had published his Varia poemata in 1556, a volume containing four tragedies-Philanira, Petrus, Aman, and Catharinathree Dialogues, Eclogues, an Epithalamion, and Epigrams. He has a claim to be reckoned among the earliest writers of modern French drama, since his Philanira was published in French in 1563 and 1577.37

Roillet's Epigrammatum liber3 8 is dedicated to Pierre Galland, Royal Reader in Latin. Scattered through it are eleven translations from the Anthology, marked 'e Graeco,' 'ex Luciano,' etc. These are from d.P. 9·47, 497; I0.29, II6; I 1.75, 77-8, 225, 378; I6.14, 19. The following example is a version of d.P. I 1.77, on a boxer, by Lucilius: Bis duo lustra ut abest patriae servatus Ulysses, Hunc Argus solo novit ab ore canis. At tu dum pugil es Stratophon per quatuor horas, lgnotus canibus nones, at es populo. Nam faciem in speculo ut lubeat spectare, vel ipse luratus dices, non ego sum Stratophon.

JEAN MORISOT (fl. I54o) A native of D&le, Morisot was a humanist and a doctor of medicine. He is said not to have gained the professorship he desired at the University of Dole; but he lectured there on Demosthenes and Cicero. A list of his numerous and varied works will be found in the Biographie Universelle.

Morisot's Latin verses appeared under the following title: Joannis Morisoti medici fiber amatorius ad Claudiam Maranchianam, Lyons (Gryphe), 1558. All his verses recall the dnacreontea or the Anthology, but with a vagueness that is puzzling until one recog36 On the rulo of the interfoliation before p. I: Gulielmus Postellus Barentonius. N.B.G., from Papillon, Bib/. des auteurs de Bourgogne. as Varia poemata, Paris (G. Julianus), 1556, ff. IJJv-ISo'. a7

LATIN WRITERS (FRANCE)

nizes what is going on. More like a vernacular than a Latin poet, Morisot is imitating earlier modern Latinists. Thus, of his epigrams that come near enough to the Greek to be recorded here, all but one turn out to be refashioned from Angeriano.39 These pieces come ultimately from A..P. 5.70 (or 94), 145, 151; and 9.157.1-2. A version of A..P. ·16.388 may have been made by Morisot directly from the Greek. Since Angeriano's expression is often feeble, Morisot did little wrong in rewriting him; and indeed every one pillaged Angeriano without acknowledgment. The following, from A..P. 5.145, is an example:40 ANGERIANO

Ante fores madidae sic, sic pendete corollae, Mane orto imponet Caelia vos capiti. At quum per canam cervicem fluxerit humor, Dicite, Non roris sed pluvia haec lachrymae. MORISOT

Excipe nocturnum rorem suspensa corona: Mane suo imponet Claudia te capiti. Sentiet irriguas guttas; tunc dicito, Noctis Non hae s\lnt guttae, Claudi•, sed lachrymae.

GILBERT COUSIN (1506-1572) A native of N azeroy, Cousin (Cognatus) studied law and theology at Dole. For more than five years (1530-35) he was secretary to Erasmus, who esteemed him highly. Returning to Nazeroy in 1535, he secured a stall as canon in the church of St. Antd"ine, at the same time setting up as teacher. In 1558 he accompanied the young Archbishop of Besan«;on, Claude de la Baume, to Italy. A prolific writer on theological matters, he laid himself open to charges of heresy. A papal brief against him was secured in 1567; and he lingered in restraint and latterly in prison until his death. 41

Of Cousin's numerous works, four concern us, his Fables, his Notes on Pontano, his Notes on Lucian, and his Adages. The first, Narrationum Sylva, appeared at Basel in 1547, and later editions followed in 1548, 1552, 1560, 1561, and 1567. 42 The Narrationum Sylva is in eight books, of which the first There are further debts to this I tali an in Morisot's book. '2. A.P. 5.145 is by Asclepiades: 'My garlands, which I have watered with my tears (rainy are the eyes of lovers), remain here hanging by this door, not hastily shaking off your leaves. But when the door opens and you see him, drip my rain upon his head, that at least his golden hair may drink my tears.' 41 Pierre-Andre Pidoux, Un Humaniste Comtois, Gilbert Cousin, Lons-Le-Saunier, 1910; Lucien Febre in Bull. de Ia soc. de /'hist. du protestantismefranfais 56 (1907). 97 sq. 42 My references are to the last: Narrationum Sylva, Basel, 1567. 39

•o Another example may be seen below, p. 414, n.

COUSIN

105

alone consists of fables in the ordinary sense; the remaining books contain anecdota of various learning: mythological stories, biographies, lists of inventors, of kings, of popes, and other matter. Apart from Aesop, the Anthology is perhaps the most prominent source for the first book. Here Cousin draws on A.P. 6.29I; 7.I72, 702; 9·I7, 20, 44, 52, 75, 86, 95, I4I, 240, 245, 252, 258, 265, 339, 370, 378, 442; I 1.162, 164, 428, 432. 43 In two instances he groups anecdotes from several epigrams under a single title: under De Caprea, puella, viatore, Iepore, et puero he places A.P. 9.370, 245, 252, and 17, while De Sacrifico et parca runs as follows: Quidam sacrificus piscandi et natandi peritissimus, quum manu in quodam profunda gurgite parcam cepisset orique mordicus inseruisset, ut ad sodales enataret, parca in gulam elapsa miserum sacrificulum in manibus sodalium nihil non tentantium exanimavit [A.P. 7.702]. Habetur similis de quodam super quem aquila in aere telo ipsius confixa incidit et peremit, ab interfectore suo iustas poenas sumens [A.P. 9.265]. Item demure ostreae carnes invadente et ab eadem contracta concha capto et occiso [.d.P. 9.86]. Non dissimili fato auceps quidam dum funda petit aves in altum speculatus, ictus in dipsade penit [A.P. 7·172]. Eiusmodi permutatio saepe fit, ut malum pro malo reddatur et par pari referatur. Nee desunt qui lacessunt illos, a qui bus gravius laeduntur.

In the later books of his Narrationes Cousin employs the epigrams more rarely. He has an article, however, on Amor Fugitivus (A.P. 9·44o); he probably refers to A.P. 9·331 on Bacchus; he cites A.P. I6.265-6 in an article on Momus; and on Nemesis he quotes A.P. 16.223-4 with Erasmus' translations, adding his own version of the last: Quod manibus cubitum teneo, quod frenaque dura, Nil ultra licitum, sed volo adesse modum.

Annotations were supplied by him for Giovanni Pontano's Dialogues of the Underworld, in the Basel edition of Pantano's Opera, published in I 5s6. 44 In the last dialogue, coming upon the phrase, Vanitatem et stultitiam esse omnia, he illustrates it in a long note (p. 3692) in the course of which he alludes to Erasmus' translation of A.P. 9·359 (Posidippus on Human Life), and quotes Secundus' versions of A.P. I0.72 and I24. 43 Several of these themes (A..P. 9.20, 44, 75; I 1.428) very likely came to Cousin by way of Aesop (cf. A.nth. in /tal., p. 8); from the same source he has also (p. 7 5) the theme of A..P. 9.272, an epigram omitted by Planudes. 44 'Joannis 'Joviani Pontani Carminum ... tomus quartus, p. 3627: 'Gilberti Cognati Nozereni in Dialogos ex Charonte annotationes.'

106

LATIN WRITERS (FRANCE)

Cousin's Notes on Lucian45 contain quotations of A.P. 9·39, 108; and 16.297N, the last from Gellius. The first two are accompanied by borrowed translations, that of A.P. 9·39 being by Bentinus,46 and that of A.P. 9.108 by Obsopoeus, though neither borrowing is acknowledged. Cousin composed six Centuriae of Adages, mainly such as Erasmus had omitted. Many of them, for example, Odi et amo and Aes triplex, are hardly proverbs in the usual sense. In this work he has occasion to refer to the Anthology four times, twice quoting some portion of an epigram with translation (A.P. 7·405.1-3 and I 1.398.I-2), and twice merely referring to the epigram by a tag (A.P. 9.482 and I6.25I).47 The proverb Ouo depili nudior is wholly made up from A.P. I I .398: Ex Niciae epigrammatarii dicto torqueri potest, quod tale est: cbOv 6.1ras 'YE'YOI'EP, quasi dixeris: Ovum totus evasit. Extat nanque in comatum prius, mox calvum redditum e multo pigmentorum usu ad tingendos crines comparatorum epigramma tale: T1}P KEcpa)..1}p {J0.11'"TWJI TLS 6.11'"WAEO"E TUS Tplxas avrO.s, Kat oauvs C,p )..(av, cjJoJI 6.11'"as ')'E')'OJIEJI, Id est,

Amisit quidam crines, caput inficiendo: Qui nunc est ovo nudior, hirtus erat.

This translation, however, was apparently borrowed from Adriaen de Jonghe's De Coma (below, p. 225). (c. I5oo-I57o) Mercier w,as born at Uzes. He abandoned the study of law, which he had pursued at Avignon and Toulouse, for that of Semitic languages, and became the most distinguished pupil of Vatable whom he succeeded c. 1547 as Royal Reader in Hebrew. A Protestant, he took refuge with Arnaud de Ferrier in Venice during the second religious war, and died at his native place when on his way back to Paris in 1570. He produced numerous works in the field of Semitic studies. [N.B.G.].

JEAN MERCIER

The following version by him of A.P. 9·496 is written in the copy of the I549 Anthology which is described on a later page (below, p. 297). 48 The epigram is a laudation of the Stoic school: ' 6 Luciani Samosatensis Opera ••. una cum Gilberti Cognati et 'Joannis Sambuci Annotationibus, Basel, [1563]. Lucian's epigrams are not included in this edition. ' 6 See Anth. in !tal., p. 89. 47 Cousin's Adagia were first printed in Erasmus' Adagia, 1574. My references are to Gilberti Cognati Nozereni Opera, Basel, r 562. ' 8 On the interfoliation opposite p. 19: Jo: Mercerus. No doubt the verses have been taken from some published work of Mercier that has remained inaccessible to me. In his Horapollonis Hieroglyphica (ed. by De Pauw, Utrecht, 1727, p. 176) he quotes A.P. 7.688.J-4·

MERCIER; MOREL

107

0 quorum studiis infix;a est Stoica secta, Indentes libris dogmata mira sacris, Utpote sola bonum mentis quod splendida virtus Sit, quae vitam hominum servat et una fovet. Ast aliis ut sit finis iucunda voluptas, N atarum in causa est unica Mnemosynes. GUILLAUME MOREL

(1505-I564)

An interest in the Anthology on the part of the royal printer, Guillaume Morel, is shown by his publication in I 551 of four small pamphlets containing selections. Three are specialized respectively on epigrams by Antipater, Lucian, and Palladas: Twv roil 'Avn7rarpov E7rL"{pap,p,d.rwv O.vtJo'Ao"{ia.-'AvtJo'AO"{ia rwv roil AovKLavov E'lrL"{pap,p,O.rwv.-'AvtJo'AO"{ia rwv roil IIa'A'Aa~O. f.n"{pap,p,O.rwv. The fourth is entitled, 'AvtJo'AO"{ia rwv ~Larpbpwv hL"{pap,p,arwv. The

quarto format is the same, and copies of all four in the British Museum are bound together, as presumably they were intended to be. 49 This practice of issuing small texts from the Anthology, apparently originating with Wechel (above, p. 92), was resumed by the younger Federic Morel (below, p. I6I). 60 The National Library in Paris possesses an eight-page pamphlet, without title-page, containing Latin verse-translations of the epigrams of Antipater and Lucian just noticed. The title on the first page is: dntipatri epigrammata selecta ex dnthologia, ex diversorum interpretatione, and on page 4: Luciani epigrammata selecta ex dnthologia. The format is the same as that of the I55I Greek pamphlets, and the inference seems irresistible that these translations were intended to be bound up with the text. 1 The translations, however, were certainly not printed in I55I, and probably not before I570 or even 1577.2 The reasons for thinking so are: (I) that Louis Martel, to whom most of the translations are due, was probably not born until c. 1555 (below, p. 145), (2) that J. J. Scaliger who appears with one translation did not know Greek in 1551, (3) that Henri Estienne's translations probably were taken from his Select Epigrams of I 570. Finally, there 49 Is the fragmentin the British Museum, now assigned to 'G. Morel? Paris, I 550?', not identical with the last part of this publication of I 551? (Short-title Cat. of Books printed in France, I924, p. 206). so From 1551 to I555 Adrien Turnebe was associated with Morel in the printing of Greek texts (Ph. Renouard in Rev. des Biblioth. 41. 286). I I have not been able actually to confront the 1551 pamphlets with this one so as to make a detailed comparison. 2 The Paris copy, having no title-page, has no indication of place, date, or publisher.

108

LATIN WRITERS (FRANCE)

is a certain connection between this book and a Selection published in 1577 by Morel's son-in-law Bienne (below, p. 144); Scaliger's version of A.P. 9.82 and Crassus' of 10.36 are in both books, and Martel is the most copious translator in both. 3 Consequently it seems probable that these translations were printed about I 577, either by Morel or Bienne, and were intended to be sold with such copies as remained on hand of the 1551 texts. In this book there are seventeen epigrams by Antipater4 and twenty-seven by 'Lucian.' The following table summarizes the contents: A.P. 6.I64 (Martel); 9·3 (Estienne), 23 (Estienne), 44 (Martel), 74 (Estienne), 82 (J. J. Scaliger), 93 (Martel), 96 (Martel), II2 (Martel), I2o (Martel), I49 (Beaucaire), ISO (Martel), I5I (Beaucaire), 23I (Jac. Colin), 305 (Beaucaire), 309 (Martel), 323 (Martel), 367 (Estienne), SI7 (Martel); Io.26-29 (Martel), 30 (Estienne), 3I (Martel), 35 (Amerbach),5 36 (J ac. Crassus), 37 (Estienne), 4I (Martel), I07 (Martel), I22 (Sleidan); II.Io (Obsopoeus), 3I (Martel), So (Martel), 8I (Martel), I29 (Martel), I89 (Martel), 2I9 (Martel), 239 (Pio), 6 274 (Martel), 400 (Martel), 427 (Martel), 428 (Alciati), 43I (Estienne).

JEAN DORAT

(15o8-1588)

Dorat (Auratus) was from Limousin, and probably was born at Limoges. Little is known with certainty of his early life and education; but according to J.-A. de Thou he knew Bude, and studied with Germain de Brie and Jacques Toussain. At all events, he was established in Paris by I 540, and soon after began taking private pupils. Between I 544 and I 547 he saw some military service; and in I 547 was made principal of the College of Coqueret, whither he transferred his pupils. About this time he also acted as preceptor of the royal pages. In I 559 he was named Royal Reader in Greek. He was twice married (I 548 and I 58 5); a daughter of his first marriage became the wife of Nicolas Goulu, to whom Do rat gave over his professorship in I 568. Thereafter he seems to have resumed private teaching. 7 a There is no question of Ant. ~pig. being simply derived from the 1577 §!..ua~. Mor., because on the whole the epigrams selected are different. • No distinction is made between Anti pater of Sidon and Anti pater of Thessalonica. ~ Veit Amerbach (ti557) has a selection from the Anthology on pp. 22-30 of his Variorum Carminum ••• fiber, Basel, I 550. 6 .Anth. in Ita/., p. 144; this, and the versions by Sleidan and Alciati, come from Cornarius' Selecta Epigrammata (1529). 7 A critical study of the life and work of Dorat is still needed. Recent works that can be profitably referred to are Nolhac, Ronsard et /'humanisme; Tilley, Studies, pp. 219 sq.; Chamard, Joachim du Bellay, Ch. 2; Auge-Chiquet, J.-A. de Baif; Ronzy; Papire Masson, Paris, 1924; and, less recent, Marty-Laveaux's Notice in his edition or Dorat's CEuvres po!tiques, Paris, 1875. Robiquet's thesis (1887) contains little of value except a few of Dorat's Latin poems not elsewhere published.

DORAT

109

It is impossible to study even superficially the poetry of the latter half of the sixteenth century without receiving an impression of the pervading influence of Dorat. His hand may almost he said to he upon every hook of verses then published, for the most part in the shape of commendatory sonnets or epigrams .. His personal work, on the other hand, is hard to judge, since he published little on his own account. There is no question that he was a good textual critic, or that he permanently benefited, for example, the text of Aeschylus. In view of the role played by the Anthology in the work of Dorat's pupils both French and Dutch, there is a presumption that it was recommended to them by him; but direct evidence of his interest in this hook has hitherto been meagre. 8 There is scarcely a trace of the epigrams to he found in his published poems. His French poems show no trace of them. 9 In his Latin Poematia only two couplets reflect the Anthology directly, though all his small pieces in Greek and Latin in style perhaps betray a consciousness of the Greek epigrammatists. 10 One of the couplets is a literal translation, though of no notable epigram (A.P. 1I.J8I): Foemina dulce malum, horis opportuna duabus: Cum iacet in thalamo, cum 1acet in tumulo.

The second more distantly echoes A.P. 9·157: Erravere, deum quite finxere, Cupido: Daemon es, et signum Daemone peius hahes.

Himself a pupil of Toussain, Dorat undoubtedly practised, like Bourbon, the art of imitatio, and one would have expected him to apply it to the Greek epigrams. It was this art of imitation above all, one suspects, that he passed on to his own pupils. Possibly a better impression of his skill is attainable from what we can see of his unpublished Greek epigrams through the French translations of Baif. By this route we at length get assurance that he did practise imitatio in Greek upon the Greek epigrams much as BourCf. Auge-Chiquet, 1.-A. de Baij, pp. 40-I. CEuvres, ed. by Marty-Laveaux, Paris, I87S· 1o Poematia, hoc est: Poematum /ibri quinque, epigrammatum /ibri Ires, anagrammatum liber unus,junerum liber unus, odarum /ibri duo, epitha/amiorum fiber unus, edogarum libri duo, variarum rerum /iber unus, Paris, I 586. The volume was assembled by some of Dorat's pupils, and not by the author (Chamard, Hist. de Ia Pl. I .7). Dorat's poems had previously appeared in various occasional publications, the most important being varia carmina with Buchanan's Franciscanus, A. Turn~be's Silva, etc., Basel, n.d., but perhaps IS68 {Brit. Mus. Cat., under 'Buchanan'). 8

9

110

LATIN WRITERS (FRANCE)

bon had done, and Toussain, no doubt, had taught; Baif has from him a set of verses involving the final distich of A.P. 5.302 (below, p. 338). His art of imitation is even better illustrated by the verses Amour echaude, du grec de Dorat, where Dorat has cleverly transposed the Theocritean or Anacreontic theme, 'Love stung by a Bee,' into 'Love burnt at Vulcan's Forge'; and there are other examples that may be studied in Bairs Passetems. 11 One is tempted to think that the unpublished part of Dorat's production, at least in this manner, must be superior to that which has been published. 12 His verses were evidently scattered about among his pupils. From one of them, Janus Dousa, there came into print what appears to be Dorat's only important translation from the Anthology to be published in his lifetime. Dousa studied with Dorat about 1564. In his Nova Poemata (1576) at the end of a group of translations he gives alternate versions of his own from A.P. 9.367, followed by Dorat's version and by one from the hand of Adriaen de Jonghe. 13 Possibly we have here an echo of some poetical exercise from Dorat's schoolroom. The Greek epigram, ascribed to Lucian, is a moral anecdote on misplaced generosity. Dorat renders it with neatness and fidelity: Rem patriam iuvenis Theron satus ille Menippo Turpiter in sumptus sparserat illicitos. Euctemon sed eum patrtus miseratus amicus, Cum iam pauperies ureret atra virum, Ut videt, excepit lachrimans, nataeque maritum Ipse suae grandi non sine dote dedit. Ast ubi praeter spem factus de paupere dives Est Theron, sumptus mox redit ad solitos, lndulgens ventri et parti quae proxima ventri Omnia plena mali gaudia dedecoris. Atque ita Theronem cum forte reciprocus aestus Rursus egestatis fluctibus obrueret, Flet miser Euctemon, iam non Therona perire Sed natae dotem coniugiumque spae. Expertus non posse, suis qui sit male rebus Usus, in alterius rebus liabere fidem. 11 Baif, Euores (Marty-Laveaux) 4.257; cf. 4·332: Brinon a sa Sit/Ire, du gee de Dorat, an imitation of the SaJ?phic rpa.I.Pertd ""'· Dorat was evidently much more skilful than Bourbon at this sort of thmg. Martial Monier (below, p. 141) has a Latin version of Dorat's epigram mentioned above (Epig. 3). 11 A Paris manuscript containing Dorat's verses is noted by Marty-Laveaux, a!.uo. polt. de 'lean Dorat, p. 84: 'Anc. 76521• A., Colbert 2205 (Cat. des mss.jr. 1.283).' Cf. Aug~-Chtquet, op. cit., pp. 35, n. 2, and 41. 11 Cf. below, p. 240. Dorat's translation was reprinted by Megiser, Antho/ogia, Frank· fort, 16o2, 1.78.

DORAT

III

So far we see how Dorat's work on the Greek epigrams was scattered about among his friends and pupils. 14 Further evidence of this work will here be sought in manuscript sources. First, there are a few notes by Dorat on the Anthology in one of Casaubon's manuscripts preserved in the Bodleian Library at Oxford. 15 They deal with thirty-four epigrams at the beginning of Book 4 of Planudes, mostly Byzantine verses on works of art. 11 Probably they were made after 1566, since the pages of Estienne's edition are given in the margins. In themselves the notes are disappointing. They are mainly glosses, of no interest, in Latin or French, or brief explanations. 17 Twice, at the beginning, complete word-for-word translations are made (A.P. I6.32-3). It may be that Dorat supplied his pupils with such cribs, though these seem to have been made for his own purposes. I give the second: IN IMAGINEM C. CUBICULARII

Pulchritudine cordis certe superas, tanto quanta vultu tuo cognomine digna omnia fers. Semper at in cubiculis placans imperatorem 17• omnem inseris (insusurras) auribus clementiam.

The only textual changes suggested are in A.P. 16.51.6 and, seemingly, in A.P. 16.54·2. In the first passage he says: 'lege lnr'Aor4pwv 7rporEpos le premier de la jeunesse' ;18 in the second, a vexed place, he writes: E7r' aKpor6.TCfJ TEpp.a.T£, 19 and translates: 1' Similarly Johann Opsopoeus or Koch acknowledges having received Dorat's emendations on the Sibrlline Oracles partly from Dorat himself when living, and partly after his death, from Baif (Si!Jyllina Dracula Paris, I599, Praej.). Opsopoeus, by the way, in the same place records how, when he lelt Paris at the outbreak of the Civil Wars, his French friends parted from him with Cicero's translation of A.P. 7.249, the Spartans' epitaph: 'Quos viros omnes .•• Deus clementer in istis Gallicanis furoribus salvos et incolumes praeservet, ••• inprimis eos qui me Lutetia abeuntem his Ciceronis versibus prosequuti sunt: Die hospes Spartae,' etc. The same volume contains, with separate title and pagination, Dracula metrica, etc., among which a number appear in the Palatine Anthology, namely, A.P. 9·455, 509, 527; I4.66, 68-9,73,76,78-9, 81-93,96-9, 148, 150. The translations are in prose. These are recorded in the Register below, since the book was a Paris publication· 1twas posthumous, Opsopoeus having died in I 596 at Heidelberg where he was professor of medicine. A conjecture by Dorat on A.P. 7.66o is recorded by Jacobs, Anth. 7.I29. Iii Bod/. Casau!J. xi, Io6, IF. 11o•-I I I•. Dorat's notes are preceded by those of Cas au bon (IF. Io6•-11o'); they are introduced by the words: 'Aurati quaedam in ~M)'Ias Iibrum 4·' My thanks are due to the librarian for allowing me to secure a photostatic copy of this manuscript. 11 A.P. I6.32-8, 4I-5; 9.686; 16.48, 51, 54, 54*; 9.588; 16.55-"7, 59-63; 9.82o; 16.65 67; IJ.442; 16.68; g.288; 16.72,·75· 17 E.g? ~Ew~'iu/dona hospitalia; and on 4ppwus, A.P. g.686: 'lntelligit Turcas.' 17• Betore imperatorem he has written and canceled regem. 11 Mss. and edd. have lnr"MTE{KJv wp/yrE{KJv. Dorat' s correction is possible, but unnecessary. 11 For b-' 6.Kpor6.TqJ 7rllebp.un (tJtls llvuxu). I suppose Dorat means, literally: 'setting his toes on their very tips.' Probably not right, but rather more ingenious than more recent proposals.

LATIN WRITERS (FRANCE)

's'appuyant sur le bout des arteils.' These notes at le~st show Dorat studying minutely some of the less-known pages of the Anthology, whence we may perhaps assume that he had given a like attention to the more attractive parts of the collection. That assumption gains support from our second manuscript source, namely the copy of Brodeau's Anthology with manuscript insertions which we have already invoked for Postel and Mercier. 20 Fourteen Latin translations, one French translation, and a Greek imitation are there ascribed to Dorat. 21 The importance of Dorat's interest in the Anthology makes it desirable to print them in full, though they are not eminently successful translations. Independence of taste, at least, is discernible: most of them are from epitaphs for persons lost at sea, a theme on which the Greek epigrams are supreme, and yet, compared with the anecdotal epigrams, these have been seldom touched by modern imitators before Chenier. Indeed, Grotius excepted, Dorat seems to be the only translator of two of these epigrams (A.P. 7·392, 397). 22 Sponsa Charetis eram, nabam cum naret et ille Hacce Philippeis navibus hostis aqua. Bucula tunc nomen fuerat mihi, nupta Charetis Nunc servo terras funere laeta duas. (d.P. 7.I69.5-8) Parce ratis remos super hoc et rostra sepulcro Assidue gelidum pingere per cinerem: Naufragus hie situs est; cur cladis in aequore rursus Me fieri immemorem post mea fata vetas? (d.P. 7.279) Carnes in pelago pisces edere, sed ossa Hie excussa iacent littus ad hoc gelidum. (d.P. 7.288.3-4) Antheus ponti periit qui naufragus undis Exigua noctu dum n1atat in tabula, See below, p. 297. All are given under the name Jo: Auratus. Further, there is a note (p. 275) on A.P. 7.234: 'Jo. Auratus mavult 6 1/leXrl.xro.s, armillans.' Since this reading is that of the 1549 Anthology, Dorat himself must have been comparing one of the editions that read bo/;~ atwuo.s, as indeed all editions seem to do except Brodeau's. Estienne has bo/;~ o.Wuo.s in his text (p. 199), but in a note at the end says: 'oif;eX.Wuo.s reponendum suspicor.' It would be interesting to know how the good reading 6 feXri.xro.s reached Brodeau or Gelenius; Stadtmiiller, ad foe., is evidently in error in supposing that it was unknown before the discovery of the Palatine manuscript. 22 The translations, successively as here printed, appear on interfoliations adjoining the following pages of my 1549 Anthology: pp. 306,336,337, 337, 299,345,340,340,340,340, 341, 387, 405, 370, 363. 20 21

DORAT

IIJ

Soli vagus de vepre luJ?US dum prosilit, angit lncautum: 0 terra tam minus unda nocens. (A.P. 7.289) 23 !stud sepulcrum intus cadaver non habet; !stud cadaver non sepulcrum extra ullum habet; Sed idem cadaver et sepulcrum ipsum est sibi. (A.P. 7·311) Navita ne quaeras cuius sim triste sepulcrum: Utaris modo tu prosperiore freto. (A.P. 7·350) Hie est crine car·ens vertex et dentibus orbus, Hie iacet in quinos fissa manus digitos, Hie sine carne latus, sine nervis et iacet illic Planta, hie cum lumbis vincla soluta suis; Hie nunc dividuus quondam fuit unicus: 0 ter Felix, qui pariter nascitur et moritur. (A.P. 7·383.3-8) Piscibus et fluvio Clytonymon hostica turba lmpulit, a regis dum nece tuta petit. Sed pietas tumulavit eum, nam provida ripa A capite extremos texit adusque pedes. (A.P. 7.388.1-4) Ven tus et unda fur ens Arcturique im brifer ortus Et tenebrae, Aegaei tristis hiemsque freti, Cuncta simul fregere rat em tria fragntina, fractus Me pariter malus texit onusque mari: N aufragum plorate ad littora curva, parentes. (A.P. 7·392) 24 Non tumulat miserum Satyrum lapis iste, nee isto (Ut fert fama) iacet mortuus ille rogo; Sed si forte maris vestras pervenit ad aures Fama, capellivagam quod fremit ad Mycalen, Eius mersus aquis iaceo sine pace profundi Nunc quoque de insano multa querens Borea. (A.P. 7·397) Qui legis hunc celeri tumulum sine corpore cymba, Haec patri dicas verba Melesagorae, Quod me, navigium, merces, ferus obruit Eurus Gurgite, ad [sic; lege at] Euippi nomen inane manet. (A.P. 7.5oo) In the margin beside the last four words is written: tristior unda minus. The last line of the translation is missing. In v. 3 the comma should rather be before tria, but I leave it as written. 23

24

LATIN WRITERS (FRANCE)

Ruris honor Thyrsis, Nympharum et pastor ovilis, Thyrsis et inflandis, Pan, tibi par calamis, Apricus potor patulae sub tegmine pinus Stertit, oves sumpto servat Amor baculo: Ah Nymphae, Nymphae, pastorem excite luporum Horrorem, ipse lupis ne laceretur Amor. (A.P. 7·703) 25 Membra quidem in gremio tellus tenet ista Platonis, At numeros auxit mens sine morte pios. (A.P. I6.JI) Hospes iter faciens ad Anacreiontica busta, Funde mihi vinum, cuius amator eram. (A.P. 7.28) 26

Beside this last, with the name Auratus repeated, is written the following French version-the only French translation from the Anthology that I have seen by Dorat: Ami qui par ce tumbeau passe De moy, des beuveurs l'outrepasse, Verse moy du vin en passant, Car de soif je suis tres passant.

Finally, there is a rather feeble Greek imitation of d.P. 7·3= 'Evt1a8' lEpO.v KEcpaX~v t1E£ovTE (JE£wvr' avEpwv

CLAUDE D'ESPENCE

'Op.~pov KEih1E 'Y~ KOUJJ.~Topos.

(I5II-I57I)

Espence was a doctor of the Sorbonne and rector of the University in

I540. He accompanied the Cardinal of Lorraine to Flanders in I 544 and

to Rome in State.27

I

555, and was prominent in affairs of both Church and

In the course of his works D'Espence refers to three Greek epigrams: d.P. 9.67, 133; and I 1.50. The first two references are in his treatise De Statu viduitatis, and the third in an Appendix to De Matrimoniis. 28 For d.P. 9.67 and 11.50 he merely quotes the translations by Erasmus; but for 9.133 he gives the Greek with his own interpretation: Coniugium experto cui ducitur altera coniunx, Naufragus in tumido his natat ille freto. 1'

In line

I,

over the words pastor ovilis, is written a variant ovi/ia seroans.

•a Over the first half of line 2 is the variant: Da mihi libamen. 17 18

Du Verdier I.JJI; Niceron IJ.I83 and 20.63. Opera Omnia, ed. by Gilbert Genebrardus, Paris (Morel), 1619.

D'ESPENCE; DUCHESNE

LEGER DUCHESNE

IIS

(t1588)

Duchesne (Leodegarius Querculus or a Quercu), Royal Reader in Latin from 1565 to 1586, was a Parisian. Little is known of his early career. We find him in 1556 lecturing on Martial at the College de Bourgogne, and in the next year teaching the Humanities at the College de Sainte Barbe. In 1557 he also lectured publicly on the Institutes of Justinian. As one of the lecteurs royaux he was notable as an opponent of Ramus, and he was capable of defending the St. Bartholomew Massacre. He published little besides the three books mentioned below. A copy of Martial in the Bibliotheque Nationale [Res. p. Yc 1291] contains notes by him. 28

Duchesne made his appearance as a Latin poet at Paris in 1549 with his Praelectionum et poematum liber, a fairly characteristic volume of humanist poetry. It includes over thirty translations from the Anthology, mostly from the satirical section. Six years later he published an anthology of Latin verses under the title: Flores epigrammatum ex optimis quibusdam authoribus excerpti, tomus primus, Paris, 1555; and after five years followed it with a second volume: Farrago poematum ex optimis quibusque et antiquioribus et aetatis nostrae poetis selecta . .. tomus secundus. Paris, 1560. Both the Flores and the Farrago seem to have been very favorably received. Both evince Duchesne's continued interest in the Greek epigrams. In the Flores he presents (ff. 137-80) a large group of translations, 'Sumpta ex Epigrammatibus Graecis,' borrowed from the Epigrammata aliquot Graeca of Joannes Soter. 30 In the Farrago he reprints his own translations from his Praelectiones, and also gives fifty-seven translations by Jean de Gorris,31 and three others among the poems of his other modern authors. 32 B.U.; Lefranc, Hi;t. Coli. de France; Nolhac, Ron. et fhum. p. 16. On Soter's book see Anth. in Ita/., pp. 274-83. I have not recorded Duchesne's selection from Soter in the Register of the present volume. 11 Above, p. IOI, u These last may be dealt with here. Two are anonymous imitations, coming from A.P. 9.440 (Far., f. 67r) and 16.162 (Far., f. 79r), of which the second, Lau; pictoriJ, reads: Vulcanus nudam Imperiam quum vidit Apellis, Aspexit nudam quando, ait, hie Venere~? The third is a version of A.P. 7·559 (Far., f. 343v) made as an epitaph for the regius professor of medicine, Jacques Dubois. The author is Joannes Vaevraeus Heduus, the identity of whom I am unable to establish. His poems were reprinted from Duchesne by Gruter in the Delitiae Poe/arum Ga//orum, vol. 3· Since Dubois died in 1555, this epitaph must have been composed between that date and I 56o. sv

10

DE JACOBO SYLVIO, E GllAECO

Ars me!dica haud dubie tria funera vidit acerba, Hippocratis primum planxit nece1 deinde Galeni: Nunc in eo tumulo gemebunda, ubi Sylvius, haeret, Ac pudor est cerni, et tanto superesse magistro. The· original, by Theosebeia, is followed exactly; it is on Ablabius, a physician of unknown date.

n6

LATIN WRITERS (FRANCE)

Duchesne's own translations are from the following epigrams:33 A.P. 6.291; 9.148, 166, 167 (2 versions), 304, 354, 375, 529, 557;

10.72, 124*; 11.95, 1oo--:1, 103-4, no, 167 (2 versions), 169, 171, 177-9, 186-7, 192, 237, 264 (2 versions), 348, 373, 436. His translations are neat, as these specimens will show: Nicticorax cantat laethaliter, ast ubi cantat Demophilus, moritur carmine nicticorax. (A.P. II.I86) Maiori in furca socium pendere videbat Lividulus Diophon: tabuit inde miser. (A.P. 11.192.) Vipera Cappadocem male sana momordit, at ipsa Gustato periit sanguine Cappadocis. (A.P. I 1.2.37)

JEAN GIRARD

(1518-1586)

Girard, a native of Dijon, took his degree as doctor of laws at D&le in I 547. Little is known of his life save that he was for some years mayor of Auxonne. Beza is thought to have erred in placing him in his catalogue of learned Protestants. Among the persons to whom Girard addresses epigrams are Barthelemy Aneau, Susannee, and Nicolas Bourbon. He published Nova novem sororum Metamorphosis, Lyons, I55o; Stichostratia seu Epigrammatum centuriae quinque, Lyons, I552.; Poemata, Lyons, I558; Chants du premier avlnement de Jesus-Christ, Lyons, I56o; Epigrammatum legalium tiber facetissimus, Lyons, IS76; Phantasmatum prosopopeae, Lyons, I 578; Trait! auquel est naivement dlpeint le sentier que doit Ienir l'homme pour bien •.• rlgir • •• les actions de sa vie, Lyons, I 579; Poemata nova, Paris, I 584."

Girard's Stichostratia contains two imitations of A.P. 9.138, one of 9·2Jo, and one of 10.74·36 Since neither the Epigrammata legalia nor the Poemata nova has any trace of the Anthology, we may suppose the earlier pieces to be reminiscences of Girard's schooldays. The following lines are in imitation of A.P. 10.74 (Virtus appetenda, ex Graeco): Non te felices attolant temporis aurae, Nulla gravet mentem sollicitudo tuam. Omnis enim instabili vita haec exponitur Euro, Plena dolorificis undique vita malis. Firma tibi virtus cimba: ·bane adscende libenter, Et vitae dubias haud trepidabis aqu'as. In the Register, below, references are to both Prael. and Far. Lacour in N.B.G., who mentions an autograph copy of Girard's Latin poems in the Biblioth~ue Nationale which is more complete than the printed editions. · 11 All are in the edition of 1552.; my references, however, are to the Poemata of 1558. 11 14

GIRARD; DE BtZE

THEODORE DE B~ZE (1519-I6os) Beza, born at Vezelay in Burgundy, studied with the Greek scholar Melchior Volmar at Orleans and Bourges. While a student of law at Orleans (I 535-9) he composed most of the verses published later as Poemata 7uvenilia. After nine years in Paris he went to Geneva (I548), joined the reform, and became professor of Greek at Lausanne (I 54959). In I559 he returned to Geneva as rector of the Academy; and after the death of Calvin was the leader of the Protestant movement in Switzerland and France. Beza's theological works here hardly concern us. Besides the 1uvenilia and the later editions of his poems mentioned below, he published an interesting set of versified portraits, leones, id est verae imagines virorum doctrina simul el pietate illustrium, Geneva, I 580. Beza's first Poemata appeared at Paris at the press of Conrad Badius in 1548.36 Composed in the usual free strain of humanist verse, and appearing just at the time of his conversion, these poems were a weapon put into the hands of his Roman Catholic enemies, who did not fail to make use of them against him, though all must have admired their really superior style. Beza's aim is to be always original, and hence instead of any simple borrowing of literary themes, one will find only hints worked up in an independent manner. There can be little doubt, for instance, that the following verses, In Thaida caecam et Ponticum claudum, are based on the familiar theme of A.P. 9.II-IJ:37 Thaida eras duces caecam, pede claudus utroque; Convenis uxori, convenit illa tibi. Integrum e duplici surget sic corpore corpus, Si praestes oculos, praestet at ilia pedes. Ergo rem faciunt te dignam, Pontice, divi, Semiviro qui dent ~P.L'YVPa'iKa tibi. In the same volume a set of I cones (not to be confused with Beza's later work with this title) contains a distich on the Spartan Mother (cf. A.P. 9·397), and another on Sappho, beginning, 'Auxit Musarum numerum Sappho addita Musis' (cf. A.P. 9.5o6). And similarly a Descriptio virtutis in dialogue is an abbreviated imitation of A.P. 16.275, on Lysippus' statue of Opportunity (below, p. 383). In view of this allusive way of treating literary sources, one may ask whether Elegia 6 is not a rhetorical amplificatio on the theme of A.P. 5.11:38 ae Les juoenilia tie Thlotiore tie Beu, ed. by Alexandre Machard, with 'Recherches sur Ia Querelle des juoenilia,' Paris, I 879. n Cf. A.P. 9.n by Leonidas of Alexandria: 'The blind tramp carried the lame one, being repaid by the use of the other's eyes, and the two half-complete beings (~IUTEAEis) fitted together into one whole, each supplying the other's deficiency.'

n8

LATIN WRITERS (FRANCE)

Site, diva Venus, genuerunt aequora quondam, Si Veneris surdo numina nota mari: Ne me, ne pelago iactatum desere, Diva: En madidus raucis undique vincor aquis. Quaeris ubi fluctus, ubi sint saeva aequora? nusquam: Sed mare, quo vexor, terra dat ipsa mihi .... A second edition of Beza's Poemata was published by Henri Estienne at Geneva in 1569, together with some Latin poems of Buchanan, Politian, and others, including those of Estienne himself. In this edition the lighter compositions of Beza's youth, including the epigram on Thais and Ponticus, are anxiously suppressed. The descriptio virtutis is turned into a Descriptio religionis. There are, however, two pieces acknowledged to be 'e graeco,' and representing A.P. 9.67 (p. I65) and II.214 (p. 163). Beza's aim is, as before, to he original in treatment. In dealing with A.P. 9.67 he somewhat alters the circumstances, but mainly attempts to outdo the Greek author (Callimachus, according to Planudes) in brevity.39 ~T~}.71p IJ.'ITPVLfis, P,LKpQ.p }.(t'Jop, ~O"TE!pE KOVpos, ws fJLop ~XM:xf}at Kat rplnroP olhp.EPos· 'I) ~E r6.!p~ KXtJit'JE'iua KaT~KTaPE 1rai~a 'II'"EO"ovua. ~EVyETE IJ.'ITPVLfis Kat Ta!pOP ol 'll'"p6'YOPOL,

Stantem novercae verberans imaginem Cecidi cadente, iacente nunc iaceo miser. Privigne, timeas quoque novercam mortuam. The version of A.P. I 1.2I4, on the other hand, is close to its original, by Lucilius: Pinxisti pulchra nuper Phaethonta tabella, Altera Deucalion picta tabella tua est. Et pretia rogitas quonam sit dignus uterque? llle quidem flammis, hie quoque dignus aquis. In Beza's Poemata varia of I 597 there was added a translation of A.P. 10.26 (p. I85). The imitations of A.P. 9.67 and II.2I4 were reprinted (p. 174), but not the epigram In Thaida. The verses here cited represent the extent of Beza's substantial debt to the Anthology in his Latin poems. A French version by him of A.P. 5.89 is given below (p. 131). In a dissertation on 18 Anonymous: 'If thou savest those on the sea, Cypris, save me, dear goddess, shipwrecked and perishing on land.' See below, p. 441, n. 23. II Versions more literal than Beza's will be found below, pp. 179 and 251. For a similar compression of a Greek epigram on the part of Politian, see Anth. in Ita/., p. 134.

DE BtZE; LAMBIN

Beza's Latin verse L. Maigron remarks that his epigrams answer neither to the Greek conception of the form nor to the modern. 40 The remark is not wholly justified. Beza's epigrams are mainly either declamatory, satirical, or ,honorific; and thus, like most Renaissance epigrams, draw near the classical epigram of the Roman period whether Greek or Latin. We grant that they do not resemble Simonides or Meleager. Beza has also a number of epigrams in Greek, of which the following on Anacreon probably shows him conscious of the similar pieces in the Anthology (cf. A.P. 7.23). 41 At at, olvo1rbras 1rws t'Jv~11KEs, 'AvaKpeov, at at, olvo1rbras l:t'JO.oos pa"'(a '~~"'wv 11racpvXas; M 710ets o~v 117rOO'V11'" E7r,l17rELI1etEV •laKxov. •EppE cpLXo,s ETapo,s, BaKXE a'II"OKTa}LEJIE. II fi DE ns llv t'JO.varov !pEV'YTI 'II"OTE, et"'(E Kat avrbs, aliros loov t'Javarov 1rp0~evbs l:11n {3£os;

Apart from his poems, Beza's works offer few occasions for turning aside to the Greek epigrams; nevertheless he quotes A.P. 9·357, on the prizes in the Greek games, in his Commentary on I Cor, 9.25: 'Now they do it to obtain a corruptible crown.' DENYS LAMBIN

(1519-1572)

Born in Picardy at Montreuil-sur-mer, Lambinus was educated at Amiens and at the College du Cardinal Lemoine in Paris. After two extended sojourns in Italy (1549-53 and 1555-60), he settled in Paris, where he was chosen Royal Reader first in Latin and later in Greek. Among his numerous productions the most admired are his editions of Horace (1561), Lucretius (1564), and Cicero (1566). 42

In a letter addressed to Henri de Mesmes and dated February 5, 1561, Lambinus reminds his friend how they used to pass their days in study together with a brother of De Mesmes and Jean Maledent. The morning would be mainly devoted to law and philosophy; then they turned to the poets and orators, and after a lunch, came to Lucian, Athenaeus, Xenophon, or the Anthology. 43 De Theodori Bezae Poematis, Lyons, 1898, p. 82. This epigram, here quoted from Beza's Poemata of 1569 (p. 94), was not retained in the edition of 1597. 42 Sandys 2.188; Henri Potez, 'LaJeunesse de Denys Lambin,' in Rev. hist. lit. for 1902, 1906, and 1920. 43 'Communiter vel Luciani facetissimos dialogos vel Athenaeum vel Xenophontem vel Graecorum Epigrammata legebamus'; Epistolae clarorum virorum, Lyons, I 561, p. 434· In a letter from Maledent to Lambinus in the same volume (pp. 355, 362) the writer quotes A.P. II.I76.5 and 38I.I. 40 41

120

LATIN WRITERS (FRANCE)

A copy of the Nicolini's edition of the Anthology, Venice, IS5o, belonging to the Bibliotheque N ationale, bears at the foot of its title-page the signature ofLambinus-Dionysij Lambinj Monsterolanj.43a There are manuscript notes throughout, though fewer on Books 5 and 7 than on the rest. These marginal notes are in part glosses, in part explanations (of geographical names and the like), and in part textual corrections. The last are numerous. They range from slight and obvious corrections, as ~:\axev in A..P. 7.7I3.2, where the I 550 edition has ~:\axov, to attempts at mending really vexed passages such as A..P. I6.86, where this edition reads with the manuscripts in line 2, ro'tos o Kvwv av opO.s, and Lambinus suggests t!wv in place of o Kvwv. 44 In line 5 of the same epigram he calls for EvKAelas in place of EvKAelovs in order to avoid the unusual masculine genitive. The same change is contemplated by Diibner in the Didot Anthology. In A..P. 5.132.6 Lambinus corrects KAWfJ.aL to KAWfJ.EvaL. 45 In line 8 of this epigram he changes cp>.wpa to x>.wpa, at the same time glossing lnrLK~ as sordida. That is, he understands the line to mean: 'though she be disheveled and pale,' where recent editors read '01rLK~ and >.wpa, and understand, 'though she be Italian and named Flora.' 46 In A..P. 9.362 he correctly marks a lacuna, as do modern editors. 47 In his Commentary on Horace, Lambinus finds occasion to quote A..P. 7.524.3-4 (on Carm. 1+16); I 1.46 (on Epist. 1.14.29), 74·7-8 (on Sat. 1.6.109), and 294 (on Sat. 2.3.I22). For the first he supplies a free translation in verse; A..P. II.46 and 74·7-8 he paraphrases in prose; and for the last he gives the translation by Sir Thomas More, available, for example, in Soter's Selections. 48 His treatment of A..P. 7.524 by Callimachus shows his method. The quotation is apt, well illustrating Horace's fabulaeque manes; and the translation is pleasantly provided with a Horatian turn: 49 43• Res Yb 955· I am in some doubt concerning this signature; Lambinus himself seems always to have used the form Monstroliensis. 44 Modern editors read dKO'ioll (ford "Vw"~") with Hecker. 46 This vexed passage has never been satisfactorily mended. Waltz prints his own conjecture p.wp.aJa.. 46 But x'J..wpO. had already occurred to Brodeau. 47 These instances are taken at random, and do not represent a complete assessment of the value of these marginalia. 48 My references are to In~. Horatium Flaccum ... Commentarii . .. Editio postrema, Frankfort (Wechel), 1577. •n Xa.plaa., -rl -ra ~~~P!7•;-no'At'll1"d-ros.-Al o'il.,a.oo• -rl; 4g

-'l'Eiiaos.-'0

a~

ITholrrw,;-Miil?os.-'A,.wMp.EI1a..

The last word merely expresses the despair of the questioner; Lam bin has taken it literally, perhaps as a part of Charidas' reply.

LAMBIN; COQUILLE

121

0 Charida quid Styx:? No:x: est. Quid Averna? Tenebrae. Quid vero ad superos tam celebres reditus? Mendaces vatum voces. Quid Pluto vel Orcus? Fabula. Nam extincti pulvis et umbra sumus.

Three epigrams are quoted, with verse-translation, in Lambinus' Commentary on Lucretius, A.P. 10.69 entire, and the final couplets of A.P. 7.713 and 11.25.60 The first is illustrative of Lucret. 3.830 (Nil igitur mors est), the second of 4.181, which passage probably echoes this Greek epigram, and the third of 3.914 (Brevis est hie fructus). The translation of A.P. 10.69 is apolOgetically introduceP, by the words, Ut quidem ego ludibundus verti: Quid mortem horretis, causam matremque quietis, Pellentem morbos pauperiemque gravem? Sola ad mortales semel advenit ilia neque unquam Advenientem iterum cernere quis potuit, At multi et varii hinc illinc invadere pergunt, Nunc hunc nunc ilium, morbi alii atque alii. 1

GUI COQUILLE

(1523-1603)

Coquille (Conchylius), sieur de Romenay, was born at D.esize near Nevers, and was educated at the College of Navarre in Paris (1532-38). He afterwards studied law at Padua. Returning to France in I 543, he established himself at Nevers, and won prominence, not only in local affairs-he was mayor of Nevers in 1568-but in national affairs as well. 2 His Latin poems were published at Nevers in 1590 and 1593, and his legal works, (Euvres posthumes, at Paris in 164o, 1646, 1665, and at Bordeaux in 1703.

In Coquille's Poemata, Nevers (Roussin), 1590, there is a translation of a well-known epigram (A.P. 9.67): 10 My references are toT. Lucreli Cari De rerum natura, Frankfort(Wechel), I583. The translation of .d.P. Io.69 is also in Gruter's De/it. poet. Gall. 2.388, and that of 11.25 in Megiser's .dntlzologia, Frankfort, I6o2, 2.116. 1 The two following translations are given to Lambinus in the copy of the I 549 Anthology described below, p. 297, and are written opposite pp. I67 and I 56 respectively. They are doubdess from some printed work of Lambinus which has escaped me. One would have expected the first to appear in his Lucretius (e.g., on I .325 If.); while the second ought to have been given by him on Horace, Sat. 2.2.I33 (cf. Antlz. in Ita/., p. I5). Omnia fert aetas, mutatur tempore Iongo Fortuna et forma et nomen et ingenium. (A.P. 9·5I)

Fundus Achaemenidae fueram olim nuncque Menippi: Ex alioque alium transferor in dominum. Hie proprium sibi me esse putat, quondam ille putavit, Sed sum Fortunae denique, non hominum. (A.P. 9·74) a Niceron, Mlm. 35.8-23.

122

LATIN WRITERS (FRANCE)

Ornabat sertis privignus busta novercae, Ut vitam, mores sic abiisse ratus: Oppressit iuvenem tumuli fractura ruentis, Quod vivens nequiit, mortua sic nocuit.

Since Niceron makes the point that Coquille's own step-motherhis mother died when he was three years old-was in every way a devoted parent to him, this, his only version from the Anthology, has a curious, if accidental, interest. MARC-ANTOINE DE MURET

(1526-1585)

Muret takes his name from the place of his birth, Muret near Limoges. He studied at Poitiers, and taught in various places (Auch, Villeneuve d' Agen, Poi tiers, and Bordeaux) before going to the College Lemoine in Paris where his brilliant lectures made a sensation. He had met Du Bellay at Poitiers, and in Paris lived in close familiarity with the Pleiade. Charges of immorality, however, drove him to Toulouse, and finally to Italy, where he passed the remainder of his life, first as professor at Venice (1555-8), then as a private teacher at Padua (1558-61), and finally as professor at Rome (1563-84). He took religious orders in 1576.3

Contrary to the common practice of neo-Latin poets, Muret shows hardly any interest in the Anthology in his Juuenilia,.published at Paris, December 1, 1552. 4 Only two epigrams can with any likelihood be ascribed to this source. 5 One is an insignificant couplet expressing the same idea as d.P. 10.73:6 Obsequitur fatis: ducent te fata volentem: Sin minus, invitum te tamen illa trahent.

The second may be taken as an 'allusion' to d.P. 5.176: 7 Si Venus, ut mendax docuerunt turba poetae, De mediis vere nata putatur aquis, Qui fieri potis est mediis ut fluctibus orta Assiduo nostrum torreat igne iecur? 0 dolor! 0 quid iam miseri speretis am antes? E media vobis nascitur ignis aqua. See Charles Dejob, Mart-Antoine de Muret, Paris, 1881; Sandys 2.148-52. 'The epigrams of the 1uvenilia in the main are not even what the sixteenth century regarded as the Greek or Catullan type. All the statements concerning Muret and the Anthology in Maurice Rat's .dnthologie Grecque, Paris (Garnier), [1939], p. xvii, are erroneous; and see below, p. 358, n. 3· 'Two other pieces may be mentioned as conceivably derived from the Anthology, namely two epigrams on noses (Juv., p. 92): Pompilio est nasus (cf. .d.P. 11.203) and Exiguum si quis nasum which is a counterpart of the first epigram. 6 Palladas: 'If Fate bears you, bear with it and be borne: if you resist, you but torment yourself, and Fate bears you all the same.' 7 The Greek epigram is translated by Estienne, below, p. 137. 8

MURET

123

If Muret had been greatly interested in the Anthology before the latter part of 1552, one might have expected to see a larger draft upon it in his Juvenilia. A few months later, in April, 15 53, Ronsard dedicated to him his own set of French translations, an act that has been taken to suggest that he owed to Muret the idea of imitating the Greek epigrams. 8 However that may be, Ronsard certainly associated the Greek epigrams with him. Possibly, then, Muret himself was just at this time, the winter of 1552-3, making a full acquaintance with the Anthology. Baif's first imitations appeared in his Amours of December, 1552. Since there is reason to think that probably in these very months Muret was reading the ancient poets-Catullus and 'Anacreon,' at least-to the Brigade, he may have read something of the Anthology to them also. 9 In May, 1553, he several times refers to the Greek epigrams in his Commentary on Ronsard's Amours. 10 On Son. 41 (f?luand au malin) Muret recalls for the phrase, 'l'escumiere fille,' the story of Venus Anadyomene and Apelles' picture of this subject: 'Sur ceste peinture ont este faits beaucoup d'epigrammes grecs, desquels j'en ay mis icy un de Leonide, qui m'a semble merveilleusement gentil' [he quotes A.P. 16.182]. On Son. 44 (']e voudrois estre), illustrating the words, 'Un demy-dieu me feroit son baiser,' he remarks: 'Ceste fin est prinse d'un epigramme grec de Rufin' [A.P. 5·94, which he quotes]; 'l'epigramrfie entier a este tourne par Baif au premier livre de ses Amours.' 11 On Son. 62 (f?luand ces beaux yeux), on the line, 'Dans un cypres note cet epigramme,' he says, 'Epigramme en grec signifie toute inscription.' The following note on Son. 54 (0 doux parter) first appeared in the edition of 1567: 'Boire [vv. 7-8]: telle maniere de parler est en l'epigramme en grec' [A.P. 5.226, which he quotes]. On Son. 135 (Douce beaute) his note is: 'La fin de ce Sonet est prinse d'un epigramme grec'; but there is doubt whether this scholium, which does not specify the epigram, is really by Muret; the epigram intended must be A.P. 5.85. 12 Finally, on the Sonnet beginning, Ha, seigneur dieu, for the expression sein verdelet, Muret says he has seen the words fJp,rpaKa p,aurov 'dans quelque epigramme grec,' but, as Laumonier notes, these words seem not to occur in the Anthology.13 Below, p. 358. Below, p. 358, where, however, it will be argued that Ronsard's attention was not directed by Muret to the amatory epigrams. 10 Muret had Ronsard's collaboration in making the commentary, but it did not extend to the classical parallels, as Muret himself emphatically declares: 'aussi veux-je bien qu' on s~ache qu' aux choses qui pouvoient se tirer des autheurs Grecs ou Latins j'y ay use de rna seule diligence.' My references are to Les Amours de P. de Ronsard Vandomois commentles par Marc-Antoine de Muret, nouvelle ldition publile d'apres /e texte de I578, by Hugues Vaganay, Paris, 1910. Some of the notes are therefore later than 1553· 11 See below, p. 359· 12 See below, p. 362. 13 Ronsard, CEuv., ed. by Laumonier, 5.109. 8

9

LATIN WRITERS (FRANCE)

Upon Muret's arrival in Venice one of his first purchases was a copy of Brodeau's Anthology of I 549, doubtless to replace a copy that he had left in Paris. 14 The book, which survives, contains no marginalia, but bears his autograph and the date: 'M. Antonii Mureti. Venetiis I555.' Muret's books were bequeathed to his nephew, who in turn left them to the Roman Jesuits. They are now in the Vittorio Emanuele Library. Muret's activity as a scholar was mostly directed upon Latin literature. We need not, therefore, be astonished to meet with only passing reference to the Greek epigrams in his works. In his Commentary on Catullus (I558) he illustrates vident in Carm. 7.8 by paraphrasing, quoting, and finally translating A.P. 7.669, which he calls, 'mellitissimum illud Platonis poema' :15 Stella meus, stellas dum suspicis, ipse utinam sim Caelum, oculis ut te pluribus aspiciam.

In the same volume he illustrates Tibullus I .2.96 from A.P. I6.251.5. He mentions A.P. I 1.292 in his Notes on Seneca (I585). In his Variac Lectiones he refers twice to the Anthology; he quotes A.P. 5·94·3-4 to illustrate Terence, Eun. 4.2.10, and in a chapter on Luol/ITJIPO' he explains the point of A.P. I I .334, which involves a play on numbers and letters. This last occasion is as near as he ever comes to dealing with a Greek epigram for its own sake. 16 In his fifth Oration he alludes to Plato's having been called 'animorum 1Esculapius,' a reference no doubt toA.P. 7.108; and in Oration I6 he cites the proverb that appears in the Anthology as A.P. Io.106. In the interesting Oration I9, on education, he chiefly insists on Latin and Greek authors being taken up together, and on forming the judgment by opposing comparable books, and here the Anthology is not overlooked: 'Epigrammata Graeca cum Catullo et Martiale committat.' Among the Latin poems of Muret which appeared later than his Juvenilia, a monody on the death of Christophe de Thou contains a reference to the runner Ladas which Frotscher rightly refers to A.P. I6.53. Finally, the following inscriptions are echoes of .d.P. 9·33I: Pierre de Nolhac in MElanges d' archlologie et d'histoire 3 (1883). 'l'l'l. Catullus el in eum Commentarius M. Antonii Mureti, Venice (Aldus), 1558, f. 16v. Tibullus and Propertius are edited with Catullus. 16 References in this paragraph and the next are to Opera Omnia, ed. by C. H. Frotscher, Leipzig, 1834-41. See also below, p. 179, n. 'lo. 14

15

MURET; BOISSARD

125

BACCHUS IN FONTE IMPOSITUS

Nondum natus eram cum me prope perdidit ignis: Ex illo fontes tempore Bacchus amo. IDEM EX ADVERSO RESPICIENS FONTEM NYMPHARUM

Qui colitis Bacchum, comites simul addite Nymphas: Nam sine ope illarum munera nostra nocent.

JEAN JACQUES BOISSARD

(1528-16oz)

Boissard, an antiquarian and Latin poet, was a native of Besans:on. He studied at Louvain, and afterwards in Germany and Italy. In Italy, where he was in the service of Cardinal Caraffa, he learned to draw for the purpose of recording antiquities. Having turned Protestant, he made Metz his home in later years. He was a friend of Paul Schede MelissusP

Boissard's Poemata (Basel, I 574, and Metz, I 589) betray no influence from the Anthology. 18 But his book of Emblems, published from his own designs in I 593, shows that he was not ignorant of our collection. 19 On the page preceding the Emblems proper, there is the picture of Time, the conventional bearded ancient, supporting on either side tablets as tall as himself. On the tablet to the reader's left is inscribed A.P. 9·359, and on the ' other the. companion epigram, A.P. 9.36o, while beneath Time's feet is A.P. Io.z6. That is, the tablets set forth, one the misery of human life, the other the more cheerful aspect, while the third epigram advises us to enjoy our possessions as though about to die, and to conserve them as though going to live. 20 Among the Emblems only one (No. 34) bears any resemblance to a Greek epigram; this, with the motto xapts iixapts recalls A.P. 10.30: Munera quae tardo veniunt pede, munera non sunt, N am quae haec commendet, gratia nulla subest.

A curious production of Boissard, his posthumous De Divinatione,21 contains quotations of A.P. 7·II9-2o, on Pythagoras; 17 He addresses several poems to Melissus. See Pierre de Nolhac, Un Poete Rhlnan, Paris, 1923, passim. 18 He has three books of epigrams, mostly occasional in character, among them leones of famous men, and Tetrasticha in Emblemata. These last are not to be confused with his Emblemata about to be mentioned. 19 Emblematum tiber: ipsa emblemata ab auctore delineata, a Theodora de Bry sculpta, et nunc recens in lucem edita, Frankfort-an-the-Main, 1593. Boissard also drew the emblems for Labeius-Betillius' Emblemata, Frankfort, I 596. 20 Translations of A.P. 9·35~0 are given above, p. So; A.P. 10.26 is quoted below, p. 436, n. 4· The design is reproduced in A. Tchemerzine, Bibliographie d'lditions originates, Paris, 1928, 2.335. 21 Tractatus posthumus Jani Jacobi Boissardi Vesuntini, de divinatione et magicis praestigiis, Oppenheim, [1615 ?]. The B.U. mentions an earlier edition, Hanau, 1611.

IZ6

LATIN WRITERS (FRANCE)

II.16J, quoted, to very little purpose, in a paragraph on the oracle of Ammon; the oracles, 14.76, 82, 112, 148; and the epigram on Homer from Gellius ( = 16.297N). Of these, translations are supplied only for A.P. 7.119, 120, and 14.q8, the first two, we discover, being the versions of Beaucaire and Bentinus respectively, and only the last apparently by Boissard. ETIENNE PASQUIER

(1529-1615)

Pasquier, a Parisian, admitted to the bar in 1549, practised until 1557, when ill-health caused his retirement to the country. He had already published his Monophile in 1555; in 1560 he brought out his best-known work, Lcs Recherches de Ia France, together with a dialogue, Le Pourparler du Prince. Returning to professional life, he represented the University of Paris in 1564 in its famous resistance to the Jesuits, and his printed plea established his reputation. He was named deputy to the Estates General in 1588. From 1594 to 1603 he served as advocategeneraL To the works already mentioned must be added Epigrammatum libri vi, Paris, 1582, Poemata, Paris, 1585, Lettres, Paris, 1586, and Epigrammatum libri vii, Paris, 1618. His CEuvres were collected in two folio volumes, Amsterdam, 1723. [B.U.]

In a letter to Pierre Pithou, Pasquier tells how at the age of forty-five he resumed the writing of Latin verse, for some time neglected, and so published a collection of such pieces. 22 All are in the form of epigrams, though a separate division is made of epitaphs, and another of leones. The Latin poems of Pasquier have been made the subject of a Paris dissertation by P. Du Pont. 23 This writer's interest is mainly in a classification of the poems according to content, and a discussion of their subjects, less in their sources, concerning which, however, he remarks (p. 14): 'Magistros sibi atque exemplaria profitetur habuisse Paschasius Martialem atque Ausonium (Epig. 4·79). Adde etiam Graecae Anthologiae poetas et Latinae ac complures alios tum antiquos tum recentiores.' Yet a precise knowledge of sources has a bearing on one's judgment of the subject-matter. Du Pont {p. 12) charges Pasquier with inconsistency because in one poem (Icon. 79) he attacks the scepticism of Pyrrho, while in another (Icon. 76) he expresses himself on Heraclitus and Democritus as follows: Scilicet in vanis cum sit spes nulla medendi, Vanior est risus, vanior est gemitus. n Lmres 8.1 (CEuu., 1723, 2.198). II

De Stephani Pasquierii latinis carminibus, Paris, 1898.

PASQUIER; MARTINIUS

117

But this second epigram is an imitation of A.P. 9· I48, and hence its whole spirit cannot be ascribed to Pasquier, though indeed the thought in these two lines is a variation of his own upon the original. 24 There are twenty-one echoes of the Anthology in Pasquier's Latin poems. 25 These are from A.P. 5.78; 6.I; 7·54, 308, 3I I, 340, 378; 9.3, I2, 30 (2 versions), 48, 66, I48, JJI, 7I8 (2 versions); 26 10.26; II.J8I; I6.I7I, 298. Most of these echoes are found in Pasquier's Epigrammata, but three are among his Epitaphia (A.P. 7·Jo8, 31 I, 378), and four among his leones (A.P. 7·54; 9.66, I48; I6.298). For the most part he aims to treat his borrowed themes in a novel manner, but the results rarely equal the originals or bear comparison with the similar attempts of some of the I tali an Latinists. Certainly the following lines are no improvement on their celebrated original, 'Lais' Mirror' (A.P. 6. I) :2 7 Hoc Veneri speculum Lais rugosa dicavi, Consilium formae quod fuit ante mihi. Forsan et impressa huic nostrae sunt spectra iuventae, Exemplar formae sumat ut inde Venus.

More acceptable is his version of the theme of A.P. I6.I7I: Induerat galeam sopiti Cypria Martis, Certa novo Martem fallere Marte Venus; Ad quem Mars: Et cur armata lacessis inermem, Arm a tum quae me vincere nuda pates?

PIERRE MARTINIUS

(c. I530-I594)

Martinius, a native of French Navarre, studied Semitic languages at Paris under Mercier and Genebrard. A Protestant, he was called to the chair of Hebrew at La Rochelle in I 572, and probably remained in that city until his death. Besides the work noticed below he published his inaugural address, Oralio, etc., La Rochelle, I 572, and Grammars of Hebrew (I567) and Aramaic (I59I). [N.B.G.] Cf. A.nth. in /tal., p. 367. References in the Register are to CEuvres, Amsterdam, 172.,3. I have, however, consulted the threeonginaleditions (1582., 1585, and 1618).All theimltationsoftheAnthology are present in the 1582. edition, except those of A..P. 7·340 and 9.66. Of these, the second appears in the 1585 edition (f. 8r), and the first in that of 1618 (p. 319). This imitation of A..P. 7·340 is absent from the 172.3 CEuvres; it was composed for De Brach's A.ymle (Dezeimeris' ed. 2..2.99). 16 Two epigrams on Myron's Heifer; referred to this epigram for convenience as more likely than the rest of the group (A..P. 9.713 ff.). 27 A..P. 6.1.3-4: 24 25

Tfi Ila.qy~ rC1J1 8£a.cp6pwv ~1f'£'Ypa.p.p.6.rwv ~K rov A' rijs 'Av{}o).o-y£a.s-Selectioris notae epigrammala e primo libro Graecae Anthologiae decerpta et Iatino carmine reddita, Paris (Prevosteau), I 584.47 The date of publication is the year following his return from Toulouse. On the title-page appears the following couplet: Si palla sociare togam iuvat, induit ecce Graecia nunc Latiam palliolata togam.

His manner of translating, which represents the original very acceptably, may be illustrated by his version of A.P. 9·33I: Fonte quod infantem Bacchum Iavere sorores, Fulminis ambustus cum prius igne foret, Bacchus amat Nymphis sociari, quem nisi lympha Dilueris, flammam fulminis inde bibes.

Critton prints the Greek text with his translations, and follows the convention in giving alternative renderings; thus he presents thirty versions of .d.P. I0.28. In all, he translates the following: A.P. 9·I3 (2 versions), I8, 30, 3I, 39, 49, 56, 99, 105, III, I23, I33 (3 versions), I37, I45, 29I, 33I, 447, 526; 10.26 (2 versions), 28 (Jo versions), 35, 41, 43,44 (2 versions), 46, 65, 72, 8o, I I I (2 versions), 119 (2 versions); 11.193 (4 versions),323,419; 16.14. THOMAS BICARTON (fl. I588) Bicarton, born at St. Andrews in Scotland, was one of a group of his countrymen who settled at Poitiers in the last quarter of the sixteenth century. At Poitiers he was professor of Poetry and Eloquence in the University, at the college of Puygarreau. He takes pride in pointing out a certain similarity between his own career and that of Buchanan. 47•

The only book that Bicarton is known to have published is his Miscellanea, Poitiers (Bouchet), I588; it contains prose and verse in Latin, French, and Scots. 48 The fifth part of these miscellanies · "B.U.; Lefranc, Hist. au Coli. tie Fr. pp. !1!18~30. For Blackwood see J. Mathorez, 'Les lntellectuels ~cossais en France au XVI• si~cle/ in Bull. au Bib/., I9I9, p. 97· n Pr~vosteau was also the publisher of Behotte s selection (below, p. I65). 47• Mathorez, op. cit., p. 97. 48 The contents of Miscellanea are: I) Miscellaneous verses and orations, !1) De morte sui Ligurini elegiae sex (to which is added a seventh in French), 3) Somnium de doctoratu D. Bonaventurae Irlandi, 4) Oratio pro M. Tullio Cicerone in Vatinium, 5) Erotic"'n liber I, 6) De vita D. Thomae Aequinatis Panegyricus, 7) De eodem Panegyrica oratio,

BICARTON; .BONNEFONS

159

is Erotict~Jn /iber (Misc. pp. I62-I92), ad Philippum Thomam Pictaviensem amicum meum singularem. This may have been previously published, since it is said to be here augmented: ab ipso auctore nunc auctus. It is a melange of elegies (de Cynthia) and of epigrams taken from the Greek, mainly from the Anthology, but with one or two from Anacreon. 49 In each case Bicarton prints the Greek he is imitating. The Preface to Erotica is itself a patchwork from the Anthology; for example, he thus describes the appearance to him of Cupid (Misc., p. I 66): Quem ut agnovi, equidem cohorrui. Atque flammis eius obsessus et circumdatus e:icclamare coepi, 'parce, Cupido, et abscede. ICa.Ta.T~ICop.a' oftTTp(fJ, [cf. A.P. 5.210.2] et totus TEtppovp.a,, incineresco [A.P. 5.188]. 6En•os ~Epc..~s, 6eu•as [A.P. 5.176] /CaL 1r'1Cpos. Recede, inquam, Cupido, tigride crudelior. Nee mirum; Venus enim mater tua Martem amat atque Vulcani coniux est, communis et igni et ensibus; matrisque tuae mater mare ventorum flagellis aspere reboat. Hinc flammam Vulcani geris ardentissimam et cruenta Martis spicula: iram vero undis amas aequalem [a literal translation of A.P. 5.18o].

Bicarton's elegies are often merely translations of Greek epigrams; sometimes, as he says, he combines the themes of two originals. The following (Eiegia I3) is taken from A.P. 5·74 and I2.234· Desine candidula sic lascivire figura, ·Desine formosis esse superba comis. Lilia putrescunt, rosa marcida facta repente Defloret: celeri tempore forma perit. Utei:e muneribus teneri fugientibus aevi: Festinat tremulo cana senecta gradu. Exerce nitidae formam, generosa, iuventae: N am te rugosam nullus amabit anum.

He similarly combines 5·95 and 222. Altogether he makes use of the following epigrams: A.P. 5.69, 70, 74, 83 +84 (+I 5·35), 87, 95, 100, I 52, I63, I69, I7I, I76, I8o, I88, 2IO, 2I6, 222,225, 236, 237, 256,305; I2.6o, 234. JEAN BONNEFONS (I554-I6I4) This well-known Latin poet does not draw inspiration from the Anthology as does his model Joannes Secundus. His Pancharis I

8) Ad litteras amicorum responsiones (in verse), 9) Epiphania Christi ad Robertum Veil Key praeceptorem meum (heroic verse), 10) Apium et hominum respublica ad Jac. Be-, tonem Archb. Glas. (verse), II) Aurearum educandae prolis institutionum libri duo (also addressed to Beaton), finallyi after Errata and Index, an epistle to Bonav. Irland. The latter, a Scot, was professor of aw at Poi tiers. ' 8 There are two or three translations from the French of Ronsard.

r6o

LATIN WRITERS (FRANCE)

(Paris, I 587) contains only two echoes, and these are commonplaces that no doubt reached him indirectly; one recalls A.P. 5.78, the other 5.83 or 84. 60 The theme of 5.78 is elaborated, perhaps after Secundus, in ten lines beginning: Postremo in nostris animam depone labellis, Hie morere aut certe fi.nge petulca mori: Sic est, et cupidum tandem exorata beasti, Estque anima in labris nostra relicta tuis.

GUILLAUME LE BLANC (IS6I-I6oi) The younger LeBlanc, gentleman of the bedchamber to Pope Sextus V, was a native of Albi. He was nephew to the Bishop of Toulon, and himself became (1588) Bishop of Gras~e. He died at Aix. [N.B.G.]

Le Blanc first published his Latin poems, Epigrammata, at Rome in 1586; and thereafter issued from time to time a number of augmented editions. 1 These poems owe nothing to the Anthology, but in a note he cites A.P. 11.334, of which epigram the point lies in the numerical equivalence of the letters composing the word 'Xotp/Js (plague) and the personal name tlaJLa'Yopas. LeBlanc demonstrates that this is so. 2 CLAUDE DU VERDIER

(1564-1649)

Claude, a son of the bibliographer Antoine du Verdier, was born at Lyons. According to Niceron he lost the considerable estate left by his father, having engaged in a disastrous lawsuit; and thereafter led a life of obscurity. Besides the youthful work dedicated to his father, and mentioned below, he published Discuurs contre ceux qui ... ont voulu pridire Ia fin du monde (Lyons, 1583), and In autores paene omnes antiquos potissimum censiones et correctiones (Lyons, 1586).3

In his seventeenth year Du Verdier published a book entitled Peripetasis epigrammatum variorum latius oratione so/uta expressorum; eiusdem [Verderii] Bombycum metamorphosis, ecloga, cui titulus Aphtarques, et alia poemata, Paris (Prevost), 1581. None of his own poems echoes the Anthology; but in the Peripetasis, a series of Latin epigrams each followed by an illustrative essay, he References are to Blanchemain's ed., La Pancharis de 'Jean Bonne/om, Paris, 1878. See the Bib!. Nat. Catalogue,lmprimls. I have used Poem ala Guilielmi B/anci junioris, Paris (Morel), 1589. 1 Ed. cit.J. p. 15. 1 N.B.G. :see Emile Picot, Les Fran,ais italianisants au xvi• siede, Paris, 19o6, 2. 193 ff. I have not seen Du Verdier's 'Lusus, de artificio epigrammatis Disquisitio, Epigrammara quaedam, partim ex graeco translata' included in the volume Phase/us Catu//i et ad eam quotquot extant parodiae, Lyons, 1593 (Picot 2. 199). 10

1

LE BLANC; DU VERDIER; MOREL

161

quotes, in the essays, A.P. 9·39, I32, 230, 394; I0.30, 57; and I 1.282. He shows knowledge of some of the modern translators, saying of A.P. 9·394: 'quod epigramma Petrus Ronsardus Gallicum, Alciatus Latinum fecit.' Once he gives a translation of his own, from A.P. 9·39= Cypris ait Musis: 'Cytheren colitote, puellae. Aut Cytheres ad vos irruet ipse puer, Marte valet.' Musae Marti referenda dedere Talia: 'Nescit nos parvulus ille puer.' [Etc.]

FEDERIC MOREL

(I552-I63o)

The younger Federic Morel, eldest son of the royal printer of the same name, was born in Paris, and there received his education, save for a period of study under Cujas at Bourges. He gained the friendly attention of Amyot by pointing out to him certain errors in his Plutarch. In I 58 I he succeeded his father as printer to the king. He married a daughter of Leger Duchesne; and became in I586 Royal Professor of Latin in his father-in-law's place. It was only in I6o2, however, that he gave over his rights as royal printer to his son, Federic the third. 4

As printer and publisher Morel carried on the tradition of Wechel and of Guillaume Morel by publishing in I 58 5 three miniature selections from the Anthology, all from the descriptive epigrams. These books, apparently, could be sold either separately or as a single volume. 5 In I 587 he issued another slender selection consisting of epigrams on Homer. 6 All these are without translations and were probably intended for the schools. In I 593 Morel published a small group of epigrams on Fortune, this time with translations: A.P. 9·49, 136, 18I; Io.62, 8o. 7 The following is his version of A.P. 9.18I, on 'a Temple of Fortune transformed into a Tavern': Sublapsa retro nunc feruntur omnia, Fortuna nam infortunio affecta est gravi.

Still another of Morel's small publications having to do with the • Georges Lepreux, Gallia typographica, Paris, 1911, 1.42.7 ff. 6 I have seen only a copy of the complete volume, in the British Museum. The title is 'AvtJo"Nryla. o6~s K.OO'J.I~O'O.VT' a.{miis TOVTO xa.pt!OJ.&EVOL. olJ6~ J.IEV 'E0'1rEpL6wv -y).vK.EpOV iS!pLS fJ.p.p.opos il'II"VOV

K.).TJ'tiJpOLO'L !pV).a.~ ~J.11rE6os OV 'lr~).ETO.L. 11"40'tJI vw).Ep.~WS ciJia.'lrU).a.p.a.t• E~E TciXLO'TO. lpxEO ITtEpL6wv !llf1Ea. 6pE1/top.Evos.

This piece is accompanied by a Latin version made by Vincent Bahuon of Brittany: Hortus ego, vario florum discrimine pictum Castaliis vates imposuere iugis. Non draco, qui vetiti servat pomaria campi, Pervigil intactas excubat ante fores. Excusso properate metu, libate frequenti Polluce purpureis lilia mixta rosis.

On the last page of the volume there is a Greek epigram by Denys Petau, who may well have had a hand in the book, though at the time of its appearance he had been for some years professor of Theology in Paris. He taught Rhetoric at LaFleche in I6IJ. LEONARD PHILARAS or VILLERET

(c. I595-1673)

Philaras was born in Athens of good family and spent his childhood there. His youth was passed in Rome, where he was educated, and his manhood mainly in France, where he acted as agent of the Duke of Parma at the French Court. Milton's two letters to him in Paris are

PHILARAS; COLLESSON

well known. Named custodian of St. Mark's Library in Venice, he died in Paris before he could leave for this post. He published a book on Christian Doctrine in Greek, XptunaJitK~ otoauKa>..La, Rome, 1616, and in Latin Doctrina Christiana, Paris, I6JJ. 9 Philaras made an apograph of the unedited epigrams of the Palatine manuscript which is said to be more extensive than either of the two more famous copies, those of Guyet and Bouhier. This manuscript having passed from the library of Seguier to that of Coislin is now in the Bibliotheque Nationale. 10 The order of Philaras' apograph differs from that of others; he gives: Epigrams in various metres [Pal., Book 13]-Erotic epigrams-Votive epigrams-Epitaphs-Descriptive epigrams-Strata-then 69 epigrams of various classes. 11 He may have used the Palatine manuscript directly, but in any case he had before him some of Saumaise's corrections. At the end of the manuscript (f. 126r sq.) are Greek epigrams of Philaras' own composition. VINCENT COLLESSON (fl. 164o) Collesson was editor of the Delphin Martial, published in 1640. He was a lawyer, but no more is known of him. 12 In his scant commentary the Greek epigrams are not summoned, but they are touched upon in his Introduction, which includes a brief section (Chap. 4) on the Epigram. 13 He is at least original in contrasting want of point in Catullus with the pointed Greek epigram: 14 'Arguta sunt pleraque [epigrammata] Lucilii, Antipatri, Luciani, Nicarchi; caruit fere hac laude Catullus, quam venustate compensavit.' He defends epigrams of ten lines by the example of Catullus, Martial, and the Greeks, and notices that in Book 7 of the Anthology Agathias has an epigram of twenty lines [d.P. s.3o2], while still longer ones are found in Book 5. 15 Using Scaliger's definition of the form, he illustrates Scaliger's 'simplex epigramma' by d.P. 16.23. And he quotes from Minturno d.P. 9·342 and 369, the two Greek epigrams that identify the epigrammatic with brevChardon de Ia Rochette, Mllanges, Paris, 1812,2.302-32. MS. Coislin. 362. A copy of Philaras' manuscript, made by Jacques D'Orville (below, p. 28o), is now in the Bodleian Library at Oxford, D'Oruille MS. No. 236. 11 Chardon, op. cit., 2.3 14. 12 N.B.G., from Adelung's suppl. to Jiicher. 13 I have used Martialis .•. in usum Delphini, Paris, 168o. 14 Cf. above, pp. 51 ff. 15 He should not have referred in this connection to Book 5 (Pal., Book 2), that is, Christodorus' Ecphrasis. His remarks, however, on the length of epigrams may have given rise to the strange notion held, e.g., by Perrault, that the Greek epigrams are generally long. g

10

LATIN WRITERS (FRANCE)

190

ity, giving Minturno's version of the first and apparently his own version of the second. FRAN~OIS

BERTHELOT (fl. 163o) Berthelot was a teacher of Rhetoric at the College of Clermont. His only publication seems to be an epinicion and other like verses on the capture of La Rochelle printed in Palmae regiae, etc., Paris, 1634.16 Two Latin dramas of his composition, entitled Neanias and Jonathas, were acted at Clermont in 1635. The manuscript of these tragedies came into the hands of Jean-Fran~ois Dreux du Radier, who describes them, and extracts from the same manuscript the following version of A.P. 9·346:17 HIRUNDO SUB MEDEAE STATUA NIDIFICANS

Quid struis infausto fragilem sub marmore nidum? Hoc Medea riget marmore, saeva parens. Ilia suos potuit genitrix occidere natos, Quid faciet pullis, saxea facta, tuis?

The original is on a picture of Medea, but modern imitators have persistently substituted a statue. Du Radier thinks Berthelot's version superior to those of Alciati, Marullus, Politian, and Bourbon, referring for these to Mignault's edition of Alciati's Emblems. SAMUEL BOCHART

(159~1667)

Born at Rouen of Protestant parents, Bochart studied the humanities in England under Thomas Dempster, went to Sedan for philosophy, and took the theological degree at Saumur. Later ·he studied Semitic languages in Holland. In 1623 he settled as Protestant minister in Caen, where, save for a visit to the Queen of Sweden in 1652, he passed the rest of his life. His two principal works are Geographia Sacra, Caen, 1646, and Hierozoicon, sive de .dnimalibus Scripturae Sacrae, London, 1663. [N.B.G.]

In accordance with the fashion of the time, Bochart's books are rich in classical lore, and many chapters seem to be little more than a concatenation of quotations Hebrew, Greek, and Latin. Among these quotations the Anthology is present, though not to any remarkable extent. In the Geographia Sacra he gives, with verse18

28g.

A. de Backer, Bibl.lcriv. comp. ']!sus; Dupont-Ferrier, College de C/ermontJ.so, 329,

17 Du Radier, Rlcr!ations historiques, critiques, mora/es, et d' Erudition, The Hague, 1768. A Latin version of A.P. 10.108 in the same work (2.65) is probably by Du Radier himself, but it is given as from Plato (Aici!J. 2) and not from the Anthology.

BERTHELOT; BOCHART; MERCIER A P 18 n. ' ' ' . 7·1.4, 2..3, 4.1-2., o f ten epigrams: portiOns trans1at10ns, 117·5-6, 419·7-8, 589.1-'2, 697·5-8, 748.1-6, 9·7'2.1-'2, 550·5-6. Here follows his version of 7·748.1-6 as it appears in his chapter on Nineveh:

Quem structorem habuit vasta de gente Cyclopum Assyriae moles tanta Semiramidis? Quive hunc terrigenae tumulum erexere Gigantes, Tangentem pluvias vertice Pleiades? Arduum et inconcussum ut Athos, immobile saxum, lugeraque immani pondere multa premens.

In the Hierozoicon the translations are only in prose. The following epigrams or parts of epigrams are used: A.P. 5·'237·9; 6.'2'21.14; 7.189.1-'2,1 9 190.1-'2, 19'2.1-'2, 195·3-4. 197·1-'2, '290; 9·57·1-'2, 70.1, 75, 20 95, 3'21.1-'2. At one time Saumaise was negotiating with Bochart to secure his help in editing the Anthology, or possibly to turn the edition over to him. 21 NICOLAS MERCIER

(tc. 1663)

Mercier (Mercurius) was professor at the College of Navarre and subprincipal of the grammar-teachers. He was a native of Poissy. Besides his treatise on the epigram mentioned below, he produced an edition of Erasmus' Colloquia (Paris, 1656), and wrote a Manuel des grammariens (Paris, 1657) frequently reprinted, the last edition appearing in I8'2o. [N.B.G.]

Mercier's treatise on the epigram (De Conscribendo epigrammate, Paris, 1653) has been noticed along with other handbooks of the same kind in the writer's Anthology in Italy (p. 69). We need only repeat that his theory is founded on his predecessors, Scaliger in particular, and is typical of its kind. The book falls into two parts-Precepts and Examples, the latter taken wholly from Latin authors. 22 In the first part, however (Chap. 14, De Epigrammatis brevitate), he quotes Cyrillus on the epigram (d.P. 9.369) and also d.P. 10.32. and 106, all three quotations no doubt borrowed from Joannes Cottunius' De Conficiendo epigrammate (163'2), which Mercier quotes in another connection. 23 Samuelis Bocharti Opera Omnia, 2 vols., Leiden, 1692. This and the next four epigrams are in a chapter De Locustis. 2°For A.P. 9·75 Bochart gives Ovid's translation and refers to Suetonius. 21 Above p. 183. 22 In his last chapter he even gives Secundus' imitation of A.P. I 1.104 as an imitation of Ausonius (Epig. 122), seemingly unaware of the existence of the Greek original. 23 For Cottunius see Anth. in Ital.,pp. 68, 269. 18

19

LATIN WRITERS (FRANCE)

PIERRE NICOLE (1625-1695) Nicole, destined to be known as one of the ablest of Jansenist writers, was born at Chartres, and had his education in Paris at the College d'Harcourt. Having become a teacher at Port-Royal, he was responsible in whole or in part for a number of textbooks. The Jansenist storm resulted in his leaving France (1677); but, not fully sharing the convictions of Arnauld, he made his peace with the Archbishop of Paris and returned to Chartres (1681) and eventually to Paris (1683), thereafter devoting himself to literature. Of his numerous works, the Essais de Morale are most esteemed.24 Among the schoolbooks produced for Port-Royal none enjoyed a longer or more deserved success than the Epigrammatum Delectus.25 It was first published in 1659. In 1683 it was reissued in England by the authorities of Eton College, and it passed through thirteen editions in the service of that school, the last appearing in 1762. 26 The selection of epigrams is probably due to Nicole, though Lancelot may have taken a hand in it, and the introductory Dissertation may with considerable assurance be ascribed to Nicole.27 The Greek epigrams cut but a very small figure in this famous book, which thereby reflects the taste of its period. To be sure, it is in any case a schoolbook of Latin epigrams, and thus comes near being merely a school-selection of Martial. But again, since a selection of Greek sententiae is included, there is reason to suppose that the compilers would have made a Graeco-Latin epigram-book if they had not had a special distaste for the Anthology. The reasons for excluding the Greek epigrams are suggested in Nicole's Dissertation. 28 Since sweetness of sound is to be sought in Niceron 29.285-333; Sainte-Beuve, Port-Royal, passim. Epigrammatum Delectus ex omnibus tum veteribus tum recentioribus poetis accuraU decerptus .•• cum Dissertatione de vera pulchritudine ... , cum brevioribus Sententiis seu proverbiis Latin is, Graecis, H ispanis, Ita/is . ..• Paris, I 6 59, front-matter+ 590 pages. The contents: Preface on purpose and utility of the book; Nicole's Dissertatio; Epigrams of Martial, pp. I-3I2; Catullus, pp. 3I3-23; various ancient poets, pp. 324-32; the Anthology in Latin translations, pp. 333-5; Claudian, pp. 335-6; Ausonius, pp. 336-57; Boethius, pp. 357-6I; modern Latin poets, pp. 362-4Io; Sententiae, pp. 4I I-Sgo. 2' In France the Delectus did not outlast Port-Royal. Le Clerc, in reviewing the fourth (I6g8) English edition, says: 'Ce recueil est tres-eonnu en Angleterre, ..• mais je ne sais si !'on s'en sertde~;ala mer'(Bibl. univ. ethist. I6 [I6g8]. 200). Cf. also below, p.pi,n.8. 27 The best witness to the authorship is Goujet (Bibl.jr.3.3I3), since he was personally acquainted with Nicole. See also Niceron 29.296 and Sainte-Beuve, Port-Royal, I878, 3.5o6. 28 This really excellent essay should be considered in histories of aesthetics. Attached to a schoolbook its ideas must have entered the minds of many persons, especially in England. A brief resume of its heads follows: (I) True beauty is that which conforms to nature. (2) The importance of sound in poetry. (3) Propriety and elegance of diction. (4) Going deeper, inner conformity to nature reJects: (a) an elaborate, metaphorical style, (b) falseness of thought, (c) profuse mythological allusions, (d) equivocation, (e) hyper24

26

NICOLE

good epigrams, most of the Latin translations from the Anthology were useless. 29 But his chief objection to the Anthology30 is that its wit runs on hyperbole. 31 His instance of this vice is 'Ausonius' translation of A.P. 11.104,32 which he quotes, adding: Sic ille Graecos in eo imitatus, quorum mira fuit in hanc cacozeliam proclivitas, ut videre est in eorum Anthologia, eiusmodi hyperbolis scatente. In eandem quoque ruunt frequentes, vel qui infirmo ingenio sunt, vel qui imperitis scribunt: unde talibus delectari magnum imperitiae signum, quo vel moveri debent, qui Rablaesii fabulas tam ineptas, tam stolidis hyperbolis refertas Iegere, ne dicam laudare, non verentur.

Nicole thus chooses his side (the same as that of Meredith) in the question that divides the field of comedy. He seems to be the first to distinguish hyperbole as a characteristic of the Greek satirical epigram, and deserves credit for a true observation, so far as it goes. 33 Besides these general strictures Nicole has a good special criticism of Germanicus' Thrax puer (cf. A.P. 7·542). This epigram, he points out, though otherwise 'satis cultum,' is psychologically false, for 'alta certe fuit illi matri interior dolendi causa, quam quod filius partim aqua, partim flamma esset absumptus.' 34 Well-taken as some of these strictures are, they are based on the seventeenth-century prejudice against epigrammes a Ia grecque; and the writer might have enlarged his idea of 'beauty' in the epigram had he cared to give more attention to the Anthology. Ten years later (1669) the Jesuit Vavasseur found an easy mark in this bolical expressions, (f) litigious matter, (g) points made from accidents: beauty penetrates to the truth, (h) the obscene, vile, unpleasant, and slanderous, as untrue to good human nature, (i) loquacity and triteness, (j) trivial points detracting from the main issue1 hence all play on words and the like; let the poem conform to human nature by addressing numan passions. The last part of the Essay comes specifically to the Epigram. Here it follows Scaliger, whose definition is adopted: 'epigramma [est] poema breve, cum simplicii cuiusdam rei vel personae vel facti indicatione' (Cf. Seal., Anth. in Ita/., p. 64). It shows the effect of the long epigram-debate (above, p. 51): Some say the epigram should close with agravisautargutasententia; but many fine epigrams, e.g., those of Catullus, do not. Others again go too far in the contrary direction and actually scorn these clausulae; 'Hi fere sunt praeposteri quidam Catulli amatores.' The epigram draws its material from 'all things' (Anth. in Ita/., p. 64); its style is either grand or familiar. n Preceding note, point (2). 'Quo in vitio vehementur haerent multi epigrammatum scriptores, et praecipue qui Anthologiam Graecam Ia tine reddiderunt, et Germani poetae. 10 Here he is thinking only of the satirical epigrams. a1 Point 4e in Note 28 above. a1 'Menestratus, riding on an ant as though it were an elephant, fell off, and when it trod on him, he cried with his last breath: "0 Envy! in this way also perished Phaethon".' aa A similar observation is more sympathetically made by J. W. Hewitt, 'The Humor of the Greek Anthology,' in Classical Journal I? (1921). 66. "For a translation of this epigram, see below, p. 307.

194

LATIN WRITERS (FRANCE)

weakness of the Delectus, and he replies to Nicole's Essay in several chapters of his De Epigrammate. 86 A far more learned man than Nicole, he has no trouble in overthrowing him on most points. Not perhaps on all, and I venture to think that SainteBeuve's summary of the matter is too casual when he says:38 'Port-Royal, sur ce chapitre de l'Anthologie, eut done le dessous: faut-il s'en etonner? tout occupe des racines ou des fruits, on y negligeait un peu tropIa fleur.' In the text of the Delectus the small group of six epigrams representing the Anthology consists of Latin versions, without Greek text, of A.P. 7.311; 9.61, 72, 359; 11.294; 16.12o.37 By accident, however, and doubtless through ignorance, there are given among the epigrams of Ausonius his versions of A.P. 7.66; 9.44; and 16.318, and, among the modern Latin epigrams, Sannazaro's imitation of A.P. 16.297, Navagero's imitation of A.P. 16.325, and Gaurico's translation of A.P. 16.135· Still more accidental is the anonymous appearance among 'ancient Latin epigrams' of Duchesne's version of A.P. 11.237·38 One at least of the selections from Martial is the equivalent of a Greek epigram (A.P. 11.141 ). Finally, as we have noticed, Ausonius' version of A.P. 11.104 and Germanicus' of A.P. 7·542 are printed in the introductory Essay. So difficult is it to avoid the inventions of the Greeks in a good selection of epigrams, even if one makes the attempt. 39 FRAN~OIS

VAVASSEUR

(16o5-168I)

Vavasseur, who came from Paray in Charolais, entered the Society of Jesus at a tender age, and eventually made a reputation as teacher of the Humanities and of Rhetoric. In 1644 he was called to the College of Clermont to succeed Denys Petau as lecturer on the Scriptures. One of the leading Latin poets of his day, he published at Paris in 1638 Carmen heroicum (paraphrases of Job); in 1644 Theurigon sive de miracu/is See the next article. Op. tit. 3.529. 17 No name of translator appears, but all are Chrestien's versions, with one or two modifications; e.g., the first distich of the translation of .d.P. 9.72 is omitted. 18 Inclusion of this piece in the Delectus may have helped make it the commonplace it became both in France and England; cf. below, pp. 494 and 545· Duchesne's verses are given above, p. I 16. ao Nicole's Essay was more than once translated into French, though there exists a confusion regarding these translations which I have not the means of clarifying (cf. below, pp. 526 and 529). The earliest is ascribed (Cat. Bib/. Nat.) to Germain La Faille, and appeared in a posthumous work of Pierre Costar (x6o3-I66o): Reeueil des plus beaux entlroits de Martial parfeu M. Costar, aoee un traitl de Ia beautl • •• Irati. tlu Latin par M.G.L..d.C., 2 vols., Toulouse, 1689. In a note on Martial 10.4 (Ret. 2.99) .d.P. u.275 is quoted with Lubinus' version, and a reference is given to A.P. 7.42. a&

16

VAVASSEUR Christi; in 1656 Elegiarum liber; in 1661 Carminum libri duo; and in 1669 De Epiirammate liber et Epigrammatum libri tres. This last book, which

is the subject of the present notice, was issued in an augmented edition in 1672; an Appendix was published in 1675; in 1678 the epigrams were increased to four books; and a final edition appeared in 1683. Among Vavasseur's prose works may be mentioned Orationes, 2 vols., Paris, 1646, 1662; jansenius suspectus, Paris, 165o; De Ludicra Dictione, Paris, 1658; and Remarques on Rapin's Rijlexions sur Ia Poetiqtfe, Paris, 1675. An Opera omnia was published at Amsterdam in 1709. [Niceron]

Vavasseur's theory of the epigram as presented in De Epigram. mate has been outlined by the present writer in another place. 40 Though put forward with a sense of originality, it is not really independent of the Renaissance treatises on this subject. Its own influence, exercised in part through the Jesuit schools, was considerable, as will be clear fro):lllater pages of the present volume. Our present concern is only with Vavasseur's knowledge of the Anthology. As displayed in De Epigrammate this knowledge is on a level with the best of its day. In Chap. 16, 'De Collectoribus Epigrammatum Graecorum,' a competent account is rendered of the work of Meleager, Philippus, and Planudes, and the work of Cephalas ·as represented by the Palatine manuscript is described as well as was then possible. Above all, the Proems of Meleager and Philippus (A.P. 4.1-2) with the last twenty lines of that of Agathias (A.P. 4·3·1 13-33) were here published for the first time. Vavasseur breaks them up into successive groups of eight or ten lines, which he translates in prose with comments. His text apparently came from Guyet's apograph (Paris. 2742), then in the possession of Menage who lent it to him. 41 The publication of these introductory poems from the Anthologia inedita was in itself enough to draw favorable attention to the book. 42 The same chapter contains A.P. 9.285, 307, and 562, with translations in verse, and 7.418 with a prose-version.43 In Chap. I7 Vavasseur compares J. J. Scaliger's Anth. in lta/.1 pp. 70-1. De Epig. (16!19), p. 189: 'Calamo porro notatos codices, ex quibus horum quaedam eruta et indicavit IEgidius Menagius, vrr in paucis doctus, et commodavit nobis.' 41 La Monnoye (Menagiana 1.2.09) recalls that in the first edition Vavasseur permitted himself to renderKutJoqp'l in the Proem of Agathias (v. 12.9) as cithara, a slip eagerly caught up by Rapin whom Vavasseur had criticized. Rapin also noted that Vavasseur in the same passage took 1ropeL'I for 1r0pL'I. But the book was widely used. I possess a copy of the Wechel Anthology (16oo) once the property of Bentley's friend William Wotton (1666-172.6) who has transcribed the text of the Proems with acknowledgment to Vavasseur. u In the Register references are to the 1669 edition of De Epigrammate and also to the Opera of 1709. 10

61

LATIN WRITERS (FRANCE)

version of d.P. 5·I39 unfavorably with that of Grotius. And in Chap. 2I he censures the Port-Royal Delectus (above, p. I92) for slighting the Anthology, since it includes only five or six pieces from this collection, and those only in Latin versions, not the best Latin versions either. He then quotes Grotius' translations of these epigrams (d.P. 7.3I I; 9.61, 72, 359; I 1.294; I6.I2o). 44 There are further, casual, references to the Anthology throughout the De Epigrammate. The treatise is dedicated to Montausier. A few translations from the Anthology appear among Vavasseur's Latin poems. The first occur in his Epigrammata of I669, published with his De Epigrammate. 45 They form a part of the third book of his epigrams, and are given with the Greek text. The originals are d.P. 5.36, 92-3; 6.76, 33I; 7.2I6, 4I6; 9.q6, 162; II.II3, 273, 40I; 16.129 (3 versions), 223 (2 versions), 224. No addition to these was made in the augmented Epigrammata of I672, but in the Appendix ad tres epigrammatum libros, Paris, I675, there are added translations of d.P. 5.90 and 95· Two more, from d.P. 5.67 and 9I, are in the I683 edition, but may have been introduced into the I678 edition which I have not seen. Finally, a translation of d.P. 10.44 is found, so far as I know, only in the Opera of 1709. On the whole, Vavasseur's translations are somewhat disappointing, as two examples will show. In the first the fourth line is especially tortured. Compare the French of Forcadel, below, p. 330. lmplicitum saevo puerum pater Alco draconi Viderat, et trepida dirigit arma manu. Non arcum frustrata fera est: telum ore recepit; Os puerum modice tunc super illud erat. Suspendit quercu perfunctus caede pharetram, Fortunae specimen nee minus artis opus. (A.P. 6.331) Me saxum e vivis potuerunt reddere divi, E saxo vivam reddete Praxiteles. (A.P. 16.129)

CHARLES DU PERIER

(ti692)

In his own time Du Perier was esteemed as a Latin poet, being numbered in the 'Pleiade Parisienne,' but his poems, scattered in the recueils, were never collected. He also won the Academy's p..ws Kfx.Jv gives a curious turn to the point. The original is by Germanicus Caesar: 'A hare from the high hill once fell into the sea in its desire to escape the savage teeth of a dog; but not even thus did it avoid an evil fate, for instantly a dogfish seized it and deprived it of life. From the fire, as the proverb says, you have fallen into the flame; assuredly heaven reared you to be food for dogs both by sea and land.' 7 Cf. A.nth. in /tal., p. 47· Parturier has thoroughly studied the sources of Sceve in his edition of Dllie, Paris, 1916. 8 Parturier, ed. cit., p. 13, and alsop. 10 for the same conceit in Dl/ie 8. On Equicola's paraphrase see A.nth. in Ita/., p. 293. • This dizain was first printed in La Fleur de polsiejran,oise, 1542 (CEuv. poet. compl. de Maurice Sceve, ed. by Guegan, Paris, 1927, p. 28o).

SC:~VE; PARADIN

317

Ne pleure plus, Venus: mais bien enflamme Ta torche en moy, mon creur I'allumera. But the dizain in which these lines occur is shown by Parturier to be a translation from Voulte who in tum was imitating Pontano. 10 It is possible, but on the whole unlikely, that Pantano was imitating the Greek epigram. 11 JEAN PARADIN (.fl. 1546) Paradin, born at Louhans, was related to the historian, Guillaume Paradin. His one b:ook, Micropaedie, Lyons~ I 546, tells us that he was clerk of the court at Dijon, and that being a great reader he had naturally turned to translating; the book accordingly is made up mainly of translations. He died over eighty years of age at Belleneuve near Mirebeau. [N.B.G.]

The Micropaedie contains translations of the Hermaphroditus of Pulex, the Disticha of Andrelinus, Textor, and the like. There are about thirty pages of Epigrammes, dizains et huictains, among them versions of A.P. 9.15, 133, and 145. Paradin evidently had in hand Soter's Epigrammata Graeca, since his version of A.P. 9.15 is from the Latin of Bergius as given therein (ed. of 1528, p. 49), while that of 9.145 is from Ausonius' Latin, also in Soter (p. 20). His version of A.P. 9·1JJ, therefore, though too vague for certain identification, doubtless depends on More or Alciati in the same volume (p. 37).12 In the case of A.P. 9.15 the treatment of the first line is enough to betray Paradin's immediate source:

A.P. 9· 1 5: AUTo To riip ~eavuEw 8Lto#lEIIOs, o~Tos, o IIVKTwp. Bergius: Hue properate omnes qui arden/em quaeritis ignem. Paradin: Venez a moy, venez, approchez vous Qui demandez de /'ardent feu avoir. Ausonius'-management of the theme of A.P. 9.145 differs from the 10 11

Parturier, p. 67. Voulte: Ne gemas, Venus, sed In me accende facem tuasque flammas, lgnem restituet tibi meum cor.

Pontano (Eria. 1.2.o): Neve puer neu fie, mater: dant spicula mille Stellae oculi: puer his utere pro pharetra; Quum flammas mea corda vomant, his utere, mater, Pro face, (etc.]. The Greek is anonymous: 8Eiip' oir' ~ijs 1/lllxijs 111/lollveXcw r,w, "'(Ap f!OV letJ.WUEJIOJI

12

'li"OXXJ)11

~~IJ.Jil'IIT•

tp}Jrya.,

On Soter's book see Anth. in !tal., pp. 274 ft".

FRENCH WRITERS

318

original mainly in three points: (I) the poet addresses Croesus, (2) omits the descriptive middle couplet, and instead (3) enlarges the taunt put into the mouth of Diogenes. 13 Effigiem, rex Croese, tuam ditissime regum Vidit apud manes Diogenes Cynicus. Constitit, utque procul solito maiore cachinno Concussus, dixit, 'Quid tibi divitiae Nunc prosunt, regum rex 0 ditissime? cum sis Sicut ego solus, me quoque pauperior. Nam quaecumque habui mecum fero, cum nihil ipse Ex tantis tecum Croese feras opibus!

So Paradin: 0 Roy Cresus le plus riche des Roys Diogenes Philosophe cinique, Quand il te veit aux Infernaux desrois, 11 commen~a a te faire la nique, Et en riant a te dire s'applique: 'Ores ou sont tes thresors (riche Roy?) Seulet te voy maintenant comme moy. Encor es tu plus povre et indigent, Car tous mes biens j'ay apportes, et toy D'en apporter as este negligent!

MELLIN DE SAINT-GELAIS

(I487-I558)

Saint-Gelais was born at Angoul~me, a son of the poet Octovian de Saint-Gelais, bishop of that place. He studied at Poitiers, Bologna, and Padua, and became a man of considerable learning. Welcomed at Court, he took orders (1524), received the abbey of Reclus, and became the Dauphin's almoner, a post which he retained when the Dauphin became Henri II. In 1544 he received the charge of the royal library at Fontainebleau. His verse, hitherto scattered, was collected in a volume at Lyons in 1547: Saingelais, rzuvres de luy tant en composition que translation ou allusion aux auteurs Grecs et Latins. There was a second edition in 1574·14

Far more than his friend Marot, Saint-Gelais represents the arrival of humanism in French poetry as well as the influence of Italy and Petrarchism. The title of his CEuures of I 574 acknowledges his Ia A.P. 9.145 (anon.): 'Coming to Hades, when he had ended his wise old age, Diogenes the Cynic, seeing Croesus, laughed, and spreading his cloak near to him who had drawn much gold from the river, the old man said: "Now I require more space than you, for I have with me all I ever had, hut you, Croesus, have nothing".' 14 My references are to