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tions would have delighted the scholar and instructed the unlearned.

Dr. Johnson relinquished his design. May the shadow of his great name rest upon this attempt to make a selection from the works of the Epigrammatists more interesting by notes, observations, and illustrative quotations! I believe that no collection of this character has ever been published. Bare epigrams, following the one upon the other, without connection and without pause, are apt to weary the reader; and I hope that value may be given to many of the pieces, as well as pleasure in the perusal of them increased, by showing their sources, their parallels, and, when it can be discovered, their association with historical events and domestic circumstances. The plan is, in some respects, the same as that proposed by Dr. Johnson; but let not the execution be measured by the standard of what he would have done; for, alas! the ghost of the sage may rise in wrath, and thunder forth a parody of an epigram of Martial: Sir, the plan you've adopted is good, for 'tis mine; But th' execution's so bad-let it pass for thine.

The aim of this work is to give a selection of the best epigrams of various periods; including mediæval and early modern Latin, and early English, epigrams, which have been neglected by previous collectors. In the modern section my chief care has been to direct attention to the Epigrammatists of our own country; but some of the most noted of those of France and Germany are also noticed. Believing the Greek inscriptions to be the best models for epigrammatic writing, I have inserted many modern pieces which take that form, although, according to the perverted ideas of later times, they would scarcely be considered epigrams. Some pieces, also, which bear an epigrammatic character will be found, although they cannot be strictly referred to any model. Some of the epigrams are well known. I have not considered this a reason for omitting

them, except in the case of a few of inconvenient length; for our most popular ones are commonly cited incorrectly, and are often ascribed to wrong authors. It has been my great anxiety to admit nothing which might render the collection unfit for the perusal of the young. A few coarse expressions may be found, which can hardly be avoided in reproducing the writings of past times; but none, I trust, which even border upon real impropriety.

The arrangement is chronological, in order that the gradual changes in epigrammatic literature, and the influence of periods upon that style of writing, may be clearly displayed; and that thus the work may be, to some extent, a history of the species of poetry, which, notwithstanding the variety of its types, is known under the general name of epigram.

A selection from the epigrams of each author is placed under his name; others are scattered through the work for comparison or illustration. All can be readily found by means of the Index. The epigrams are illustrated by others, which may be the originals whence they are taken, or which may be compared with them on account of similarity of thought or language; and passages from the Poets are used in the same manner, for the purpose of showing identity of tone, or as illustrative of the subject of the verses. Explanations are given of epigrams which depend for their interest upon circumstances of the day, or events in the life of the epigrammatist, or of the person upon whom, or to whom, he writes. Observations and anecdotes are added whenever the epigrams can be made more interesting by such means. Slight biographical notices of the authors, with the exception of those well known to every reader, are prefixed; because the pleasure of reading is always increased by some knowledge of the writer, and books where such information can be obtained are not always at hand. A section consisting of epigrams, the authors of which I

have failed to discover, is placed at the end. They are arranged in such chronological order as the repositories whence they are gleaned, or their own internal evidence, warrants. Other anonymous pieces are scattered through the work. Many of these epigrams are of great beauty, and it is a subject of regret that my efforts to recover the names of the writers have not been successful. Some, however, which have hitherto been generally given as anonymous, I am glad to be able to ascribe to their authors. The epigrams have been obtained from many sources, but whenever I could find out the volumes in which they originally appeared, I have examined them, in order to ensure correctness. The old spelling is generally modernised, with the exception of that of Spenser and Herrick, which is preserved to show the orthography of their day.

The translations are by many different writers, whose names will be found attached to their renderings. Elegance has been sought, but closeness to the original has always been considered of greater importance. Many of the translations from the Greek are by Bland and Merivale, the "associate bards" distinguished by Byron; and a few are by the late Dr. Wellesley. I have inserted none by Major Macgregor, as his "Greek Anthology" is a work of very recent date, which can be easily consulted by all who take an interest in the subject. For a considerable number of translations marked C., I am indebted to a friend. For the few marked D., I am responsible; but I have never had recourse to my own pen when I could find renderings by others which faithfully represented the originals. In some cases I have made slight alterations in versions which were not sufficiently exact, but never without stating that change has been made. It has been difficult to find translations of the epigrams of the medieval and early modern Latin poets; for these Epigrammatists, being so little known, have found very few to array them in an English dress. Use

has been made of about a dozen excellent renderings in the 233rd No. of the "Quarterly Review."

The reference of the Greek Epigrams is to Jacobs' "Anthologia Græca," 1794-1814. The reference of the Mediæval and Early Modern Latin Epigrams is, with a few exceptions, to the Anthology, entitled "Delitiæ Delitiarum," of Abraham Wright, 1637. General references will, I trust, be found to be carefully given. This is a point to which I have felt it of importance to pay special attention. I have not, however, considered it necessary to give particular references, when the epigrams are published in the wellknown works of their authors, or in the editions of the British poets, known as Bell's, Johnson's, and Chalmers'.

The Introduction contains a brief sketch of epigrammatic literature from the earliest times. My own views of the best style of epigram-writing, which have governed me i the general selection, will be there seen. A list of books, which may be useful to students in this department of literature, is added as an Appendix.

It remains to express my earnest thanks to the friend whose translations, marked C., display so conspicuously the accurate and the elegant scholar. His encouragement induced me to commence this work, and gave me energy in its progress; and the interest he has shown in it has rendered his advice as agreeable to seek as it has been valuable to receive. The obligation which I feel is a pleasure, for it is the evidence of a friendship which I prize.

RAMSGATE. January, 1870.

INTRODUCTION.

NO FORM of poetic composition is more universally popular than the epigram. The orator uses it in the Legislature to point his satire; the conversationalist at the dinnertable to display his wit; and the correspondent in his Letters to enliven his subject. Short, it is easily retained in the memory; pithy, it contains in the compass of a few lines the sum of an argument; and the result of experience, it often expresses the wisdom of ages. Changed much in its character, it has yet retained its essentials, and, though shorn of its elegant simplicity, it has gained in the breadth of its application.

So ancient is the epigram, that its earliest use must be sought in the uncertain traditions of an age, the literature of which has descended but in fragments. So varied has been its form, that at one time largely employed for monumental inscriptions to honour the dead, at another it has been commonly used for satire to vilify the living. For example, Artemidorus, the Greek, composed the following for the tomb of Theocritus (Jacobs Ï. 194, i., translated by Polwhele):

Theocritus my name-of Syracuse

I claim no kindred with the Chian Muse.
Praxagoras' and Philinna's son, I scorn
The foreign bays that others' brows adorn.

With this let a well-known and worthless modern epigram be compared, on James Moore, or More, who was not averse to wear the bays belonging to others:

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