Soles occidere et redire possunt:
Nobis, cum semel occidit brevis lux,
Nox est perpetua una dormienda.
Da mihi basia mille, deinde centum.”
This sentiment, representing either the pleasure of conviviality, or delights of love, (and much more so as when here united,) in contrast with the gloom of death, possesses something exquisitely tender and affecting. The picture of joy, with Death in the distance, inspires a feeling of pensive morality, adding a charm to the gayest scenes of life, as the transientness of the rose enhances our sense of its beauty and fragrance; and as the cloud, which throws a shade over the horizon, sometimes softens and mellows the prospect. This opposition of images succeeds even in painting; and the Arcadian landscape of Poussin, representing the rural festivity of swains, would lose much of its charm if it wanted the monument and inscription. An example had been set of such contrasted ideas in many epigrams of the Greeks, and also in the Odes of Anacreon, who constantly excites himself and fellow-passengers to unrestrained enjoyment at every stage, by recalling to remembrance the irresistible speed with which they are hurried to the conclusion of their journey—
“Ὁ δ’ Ερως, χιτωνα δησας
Ὑπερ αυχενος παπυρῳ,
Μεθυ μοι διηκονειτω.
Τροχος αρματος γαρ οῖα
Βιωτος τρεχει κυλισθεις.