Ὁ ΦΙΛΕΛΛΗΝΟΣ.

Ῥωσσ-αγκλο-γαλλοι, Ελλας, καὶ ὄχι ἄλλοι,

ἦτον, ὡς λέτε, τόσον μεγάλη,
νῦν δὲ ἄθλία, καὶ ἀναξία
ἀφ' φὲ ἄρχίσεν ἡ ἀμαθία.
οστ' ἠμπορέσαν νὰ τὴν ξυπνήση
τοῦτ ̓ εἰς τὸ χεῖρον τὴν ὁδηγεσι.
αὐτὴ σενάζει τὰ τέκνα κράζει,
τό να προκόπτουν όλα προςάζει
καὶ τότε ἐλπίζει ὅτι κερδίζει.
εὑρεῖν, ὁποῦ ̓χει νῦν τὴν φλογίζει
Μα· ὅσις τολμήση να τὴν ξυπνήση
πάγει σὸν ἅδην χωρίς τινα κρίσιν.

The above is the commencement of a long dramatic satire on the Greek priesthood, princes, and gentry; it is contemptible as a composition, but perhaps curious as a specimen of their rhyme; I have the whole in MS. but this extract will be found sufficient. The Romaic in this composition is so easy as to render a version an insult to a scholar; but those who do not understand the original will excuse the following bad translation of what is in itself indifferent.

TRANSLATION.

A Russian, Englishman, and Frenchman making the tour of Greece, and observing the miserable state of the country, interrogate, in turn, a Greek Patriot, to learn the cause; afterwards an Archbishop, then a Vlackbey*, a Merchant, and Cogia Bachi or Primate.

Thou friend of thy country! to strangers record
Why bear ye the yoke of the Ottoman Lord?
Why bear ye these fetters thus tamely display'd,
The wrongs of the matron, the stripling, and maid?
The descendants of Hellas's race are not ye!

The patriot sons of the sage and the free,
Thus sprung
from the blood of the noble and brave,
To vilely exist as the Mussulman slave!

Not such were the fathers your annals can boast,
Who conquer'd and died for the freedom you lost!
Not such was your land in her earlier hour,
The day-star of nations in wisdom and power!
And still will you thus unresisting increase,
Oh shameful dishonour! the darkness of Greece?
Then tell us, beloved Achæan! reveal

The cause of the woes which you cannot conceal.

The reply of the Philellenist I have not translated, as it is no better than the question of the travelling triumvirate; and the above will sufficiently show with what kind of composition the Greeks are now satisfied. I trust I have not much injured the original in the few lines given as faithfully, and as near the "Oh, Miss Bailey! unfortunate Miss Bailey!" measure of the Romaic, as I could make them. Almost all their pieces, above a song, which aspire to the name of poetry, contain exactly the quantity of feet of

"A captain bold of Halifax who liv'd in country quarters,"

which is in fact the present heroic couplet of the Romaic.

SCENE FROM 'O KAÞENEZ.

TRANSLATED FROM THE ITALIAN OF GOLDONI BY
SPERIDION VLANTI.

ΣΚΗΝΗ ΚΓ ́.

ΠΛΑΤΖΙΔΑ εἰς τὴν πόρταν τε χανιῦ, καὶ οἱ ἄνωθεν.

ΠΛΑ. Ω Θεέ! ἀπὸ τὸ παραθύρι μὲ ἐφάνη νὰ ἀκέσω τὴν φωνὴν τε ανδρός με ἂν αὐτὸς εἶναι ἐδῶ, ἔφθασα σὲ καιρὸν νὰ τὸν

ξεντροπιάσω. [Εὐγαίνει ἕνας δελος ἀπὸ τὸ ἐργαςήρι.] Παλι κάρι, πές με σὲ παρακαλῶ ποιὸς εἶναι ἐκεῖ εἰς ἐκείνες τὸς ὀντάδες : ΔΟΥΛ. Τρεῖς χρήσιμοι ἄνδρες. Ενας ὁ κυρ Εὐγένιος, ὁ ἄλ λος ὁ κῦρ Μάρτιος Ναπολιτάνος, καὶ ὁ τρίτος ὁ Κῦρ Κόντε Λέαν δρος Αρδέντης.

ΠΛΑ.

(Ανάμεσα εἰς αὐτὲς δὲν εἶναι ὁ Φλαμίνιος, ἂν ὅμως δὲν ἄλλαξεν ὄνομα.)

ΛΕΑ. Νὰ ζῇ ἡ καλὴ τύχη τῷ κῦρ Εὐγενία. [Πίνωντας.] ΟΛΟΙ. Νὰ ζῆ, να ζῇ,

ΠΛΑ. (Αυτὸς εἶναι ὁ ἄνδρας με χωρὶς ἄλλο.) Καλὲ ἀνθρωπε κάμε με την χαρὶν νὰ μὲ συντροφεύσης ἀπάνω εἰς αὐτὲς τῆς ἀφεντάδες, ὑπὸ θέλω νὰ τὰς παίξω μίαν. [Πρὸς τὸν δέλον.] ΔΟΥ. Ορισμός σας (συνηθισμένον ὀφφίκιον των δελευτῶν.) [Τὴν ἐμπάζει απὸ τὸ ἐργασήρι τῆ παιγνιδιᾶ.

ΡΙΔ. Καρδιά, καρδιά, κάμετε καλὴν καρδιὰν, δὲν εἶναι τί ποτες. [Πρὸς τὴν Βιττόριαν.]

ΒΙΤ. Ἐγὼ αἰσθάνομαι πῶς ἀπεθαίνω. [Συνέρχεται εἰς τὸν ἑαυτόν της.]

̓Απὸ τὰ παράθυρα τῶν ὀντάδων φαίνονται ὅλοι, ὁπε σηκόνωνται ἀπὸ τὸ τραπέζι συγχισμένοι, διὰ τὸν ξαφνισμὸν τὸ Λεάνδρο βλέπωντας τὴν Πλάτζιδα, καὶ διατὶ αὐτὸς δείχνει πῶς θέλει νὰ τὴν φονεύσῃ.]

ΕΥΓ. Οχι, σαθητε.

ΜΑΡ. Μὴν κάμνετε. . .

ΛΕΑ. Σίκω, φύγε απ' εδώ.

ΠΛΑ. Βοήθεια, βοήθεια. [Φεύγει ἀπὸ τὴν σκάλαν, ὁ Λέαν δρος θέλει νὰ τὴν ακολεθήσῃ μὲ τὸ σπαθὶ, καὶ ὁ Εὐγ. τον βασᾷ.] ΤΡΑ. [Μὲ ἕνα πιάτο με φαγὶ εἰς μίαν πετζέτα πηδᾷ ἀπὸ τὸ παραθύρι, καὶ φεύγει εἰς τὸν καφενέ.]

ΠΛΑ. [Ευγαίνει απὸ τὸ ἐργασήρι το παιγνίδια τρέχωντας, καὶ φεύγει εἰς τὸ χάνι.]

ΕΥΓ. [Μὲ ἅρματα εἰς τὸ χέρι πρὸς διαφέντευσιν τῆς Πλάτζιδας, ἐναντίον τὸ Λεάνδρο, ὁπᾶ τὴν κατατρέχει.]

ΜΑΡ. [Εὐγαίνει καὶ αὐτὸς σιγὰ σιγὰ ἀπὸ τὸ ἐργασήρι, καὶ φεύγει λέγωντας.] Rumores fuge. [Ρεμόρες φέγε.] *

Οἱ Δέλοι. [Απὸ τὸ ἐργασήρι απερνῶν εἰς τὸ χάνι, καὶ κλειν τὴν πορταν.]

BIT. [Μένει εἰς τὸν καφενέ βοηθημένη απὸ τὸν Ῥιδόλφον.] - ΛΕΑ. Δόσετε τόπον· θέλω νὰ ἔμβω νὰ ἔμβω εἰς ἐκεῖνο τὸ χάνι. [Μὲ τὸ σπαθὶ εἰς τὸ χέρι ἐναντίον τῇ Εὐγενία.]

ΕΥΓ. Ὄχι, μὴ γένοιτο ποτέ· εἶσαι ἕνας σληρόκαρδος ἐναντίον τῆς γυναικός σε, καὶ ἐγὼ θέλει τήν διαφεντεύσω ὡς εἰς τὸ ὕσερον αίμα.

ΛΕΑ. Σε κάμνω ὅρκον πῶς θέλει τὸ μετανοιώσῃς. [Κινηγά τὸν Εὐγένιον μὲ τὸ σπαθί.]

ΕΥΓ. Δὲν σὲ φοβᾶμαι. [Κατατρέχει τὸν Λέανδρον, καὶ τὸν βιάζει νὰ συρθῇ ὀπίσω τόσον, ὁπῦ εὐρίσκωντας ανοικτὸν τὸ σπῆτι τῆς χορεύτριας, ἐμβαίνει εἰς αὐτὸ, καὶ σώνεται.]

* Λόγος λατινικὸς, ὁπᾶ θέλει νὰ εἰπῇ· φεύγε ταις σύγχισες.