To Anacreon music and poetry were inseparable.  The poet of his time recited his lines with lyre in hand, striking upon it in the measure he thought best suited to his song.  Doubtless the poems of Anacreon were delivered in this way.  His themes were simple,—­wine, love, and the glorification of youth and poetry; but his imagination and poetic invention so animated every theme that it is the perfect rendering which we see, not the simplicity of the commonplace idea.  His delicacy preserves him from grossness, and his grace from wantonness.  In this respect his poems are a fair illustration of the Greek sense of self-limitation, which guided the art instincts of that people and made them the creators of permanent canons of taste.

Anacreon had no politics, no earnest interest in the affairs of life, no morals in the large meaning of that word, no aims reaching further than the merriment and grace of the moment.  Loving luxury and leisure, he was the follower of a pleasure-loving court.  His cares are that the bowl is empty, that age is joyless, that women tell him he is growing gray.  He is closely paralleled in this by one side of Beranger; but the Frenchman’s soul had a passionately earnest half which the Greek entirely lacked.  Nor is there ever any outbreak of the deep yearning, the underlying melancholy, which pervades and now and then interrupts, like a skeleton at the feast, the gayest verses of Omar Khayyam.

His metres, like his matter, are simple and easy.  So imitators, perhaps as brilliant as the master, have sprung up and produced a mass of songs; and at this time it remains in doubt whether any complete poem of Anacreon remains untouched.  For this reason the collection is commonly termed ‘Anacreontics’.  Some of the poems are referred to the school of Gaza and the fourth century after Christ, and some to the secular teachings and refinement of the monks of the Middle Ages.  Since the discovery and publication of the text by Henry Stephens, in 1554, poets have indulged their lighter fancies in such songs, and a small literature of delicate trifles now exists under the name of ‘Anacreontics’ in Italian, German, and English.  Bergk’s recension of the poems appeared in 1878.  The standard translations, or rather imitations in English, are those of Cowley and Moore.  The Irish poet was not unlike in nature to the ancient Ionian.  Moore’s fine voice in the London drawing-rooms echoes at times the note of Anacreon in the men’s quarters of Polycrates or the symposia of Hipparchus.  The joy of feasting and music, the color of wine, and the scent of roses, alike inspire the songs of each.

          Drinking

     The thirsty earth soaks up the rain,
     And drinks, and gapes for drink again,
     The plants suck in the earth, and are
     With constant drinking fresh and fair;
     The sea itself (which one would think
     Should have but little need of drink)
     Drinks twice ten thousand