Has the translation of Ps. cxxvii. 2., which Mr. Trench has adopted, the sanction of any version but that of Luther?
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.),
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:
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.]"