(Vol vii., p. 178. &c.)
Several of your correspondents have offered Notes upon these singular
compositions, and AGRICOLA DE MONTE adduces
"[Greek: NIPSON ANOMÊMATA, MÊ MONAN OPSIN]"
as an example. As neither he nor MR. ELLACOMBE give it as found _out_ of
this country, allow me to say that it was to be seen on a benitier in the
church of Notre Dame at Paris. If it were not for the substitution of the
adjective [Greek: MONAN] for the adverb [Greek: MONON], the line would be
one of the best specimens of the recurrent order.
I notice that a correspondent (Vol. vii., p. 336.) describes the Palindrome
as being universally _sotadic_. Now, this term was only intended to apply
to the early samples of this fanciful species of verse in Latin, the
production Sotades, a Roman poet, 250 B.C. The lines given by BOEOTICUS
(Vol. vi., p. 209.),
"Roma tibi subito motibus ibit amor?"
owe their authorship to his degraded Muse, and many others which would but
pollute your pages.
The hexameter "Sacrum pingue," &c. given by [Omega]. [Phi]. (Vol. vi., p.
36.), is to be found in Misson's _Voyage to Italy_, copied from an old
cloister wall of Santa Maria Novella at Florence. These ingenious verses
are Leoline[2], and it is noted that "the sacrifice of Cain was not a
living victim."
I have seen it stated that the English language affords but _one_ specimen
of the palindrome, while the Latin and Greek have many. The late Dr. Winter
Hamilton, the author of _Nugæ Literariæ_, gives this solitary line, which
at the best is awkwardly fashioned:
"Lewd did I live & evil did I dwel."
Is any other known?
Some years since I fell in with that which, after all, is the most
wonderful effort of the kind; at least I can conceive of nothing at all
equal to it.
It is to be found in a poem called [Greek: Poiêma Karkinekon], written in
ancient Greek by a modern Greek called Ambrosius, printed in Vienna in
1802, and dedicated to the Emperor Alexander. It contains 455 lines, every
one of which is literal palindrome.
I have some hesitation in giving even a quotation; and yet, notwithstanding
the forced character of some of the lines, your readers will not fail to
admire the classic elegance of this remarkable composition.
"[Greek: Eu Elisabet, Alla t' ebasileue.]
[Greek: Elabe ta kaka, kai akaka katebale.]
[Greek: Areta pêgase de sa gê patera.]
[Greek: Sômati sô phene phene phôs itamôs.]
[Greek: Su dê Hêrôs hoios ô Rhôs hoios hôrê hêdus:]
[Greek: Noi su laôi alaôi alusion.]
[Greek: Neme êthê laôi tôi alêthê emen.]
[Greek: Su eso ethnei ekei entheos eus.]
[Greek: Hô Rhôs ele ti su lusiteles ôrô.]
[Greek: Alla ta en nôi bale, labôn nea t' alla]
[Greek: Sôtêr su eso ô elee thee leô, hos eus rhêtôs]
[Greek: Son hade sôtêra idia rhêtôs edanos.]"