Sweet is the smell, and scented as the bowers 195 Your gambols, lo! the wanton goat is near. IDYLLIUM II. ARGUMENT. Simæthea is here introduced complaining of Delphis, who had debauched and forsaken her. she makes use of several incantatious in orde to regain his affection; and discovers all the variety of passions that are incident to a ne glected lover. WHERE are my laurels? and my philtres where? Pale Moon, assist me with refulgent light; 10 197. Come, Ciss!] Kiogela, the name of the goat, from cos, ivy, and awy, bright or shining. 1. This whole Idyllium, as Heinsius observes, seems to have been pronounced with great gesticulation, as is evident from the exordium, Ia poi ται Δαφνει ; τα δε τα φιλτρα; which is a direct imitation of the beginning of an ancient song, that used to be frequently rehearsed in the streets, and was called ανθεμα, Πε μοι τα ξοδες πως μοι τα ια; Where are my roses? where are my violets? 3. The cauldron] It is uncertain what sort of vessel the Kn was; Nicander uses the word in his Theriacis, and there it signifies a mortar in which any thing is pounded. Casaubon thinks it may be taken in the same sense here. It is worth observation, that though Virgil has studiously imitated this whole Idyllium, he chose not to mention any sort of vessel, but says, molli cinge hæc aleria vitâ. Eel. 8. 64. 4. Conjugis ut magicis sanos avertere sacris Experiar sensus ——————Ecl. 8. 66. 9. The Palæstra] The place for wrestling, and other exercises. 11. O queen of night!] Sorcerers addressed their prayers to the Moon and to Night, the witnesses of their abominations. Thus Medea in Ovid, Met. b. vii. My imprecations I address to thee, 20 26 The cake's consum'd-burn, Thestylis, the rest 30 As melts this waxen form, by fire defac'd, 36 So may his love return-Restore, my charms, 19. My charms,] The Greek is Ivy, a bird which magicians made use of in their incantations, supposed to be the wryneck. Virgil has, Ducite ab urbe domum, mea Carmina, ducite Daphnim. Ecl. 8. 68. 22. What frenzy] Ah, Corydon, Corydon, quæ Ecl. 2. 69. te dementia cepit? 28. Fragiles incende bitumine lauros. The laurel was burnt in order to consume the Acsh of the person, on whose account the magical rites were perforined; it was thought, according to Pliny, b. 16. chap. the last, by its crackling noise, to express a detestation of fire. Mr. Gay has finely imitated this passage in his fourth Pastoral. Two hazel-nuts I threw into the flame, And to each nut I gave a sweetheart's name: This with the loudest bounce me sore amaz'd, That in a flame of brightest colour blaz'd: As blaz'd the nut, so-may thy passion grow, For 'twas thy nut that did so brightly glow. 33. It was customary to melt wax, thereby to mollify the heart of the person beloved; the sor ceress in Virgil, Ecl. 8. makes use of two images, one of mud, and the other of wax. Limus ut hic durescit, & hæc ut cera liquescit Uno eodemque igni: sic nostro Daphnis amore, 35. It was also usual to imitate all the actions they wished the loved person to perform; thus Tuque triceps Hecate quæ cæptis conscia nostris Simatha rolls a brazen wheel, believing that the Adjutrixque venis. Nox, ait, arcanis fidissima motion of this magic machine had the virtue to Canidia addresses the same powers-O rebus meis inspire her lover with those passions which she wished. Canidia makes use of this wheel. Canidia, parce vocibus tandem sacris, Citunique retro solve, solve turbinem. See Hark! hark! the village-dogs! the goddess soon Will come the dogs terrific bay the MoonStrike, strike the sounding brass-Restore, my charms, Restore false Delphis to my longing arms. Calm is the ocean, silent is the wind, But grief's black tempest rages in my mind. I burn for him whose perfidy betray'd My innocence; and me, ah, thoughtless maid! Robb'd of my richest gem-Restore, my charms, False Delphis to my long-deluded arms. I pour libations thrice, and thrice I pray; O, shine, great goddess, with auspicious ray! Whoe'er she be, blest nymph! that now detains My fugitive in Love's delightful chains; Be she for ever in oblivion lost, Like Ariadne, 'lorn on Dia's coast, Abandon'd by false Theseus-O, my charms, Restore the lovely Delphis to my arms. Hippomanes, a plant Arcadia bears, 50 Makes the colts mad, and stimulates the mares, 60 O'er hills, thro' streams they rage: O, could I see Young Delphis thus run madding after me, And quit the fam'd Palæstra!-O, my charms, Restore false Delphis to my longing arms. 41. Hylax in limine latrat Virg. Ecl. 8. 107. -visæque canes ululare per umbram, Adventante DeâÆn. 6. 257. The reason why Hecate was placed in the public ways, was because she presided over piacular pollutions: every new moon there was a public supper provided at the charge of the richer sort in a place where three ways met, hence she was called Trivia, which was no sooner brought, but the poor people carried it all off, giving out that the Hecate had devoured it; these suppers were expiatory offerings to move this goddess to avert any evils, which might impend by reason of piacular crimes committed in the highways. Potter's Ant. 43. Tinnitusque cie, et matris quate cymbala circum. Virg. Geor. 4. 64. 45. Et nunc omne tibi stratum silet æquor, et omnes (Aspice) ventosi ceciderunt murmuris auræ. Ecl. 9. 57. 51. The number three was held sacred by the ancients, being thought the most perfect of all numbers, as having regard to the beginning, middle, and end. We shall see a further propriety in it, if we consider that Hecate, who presided over magical rites, had three faces. Terna tibi hæc primum triplici diversa colore 59. Hippomanes here undoubtedly signifies a plant, which is described as having the fruit of the wild cucumber, and the leaves of the prickly poppy; perhaps a kind of mullein; though in Virgil, Geor. 3. 280, it means a poison. See Martyn. 60. Cum tibi flagrans amor et libido, Quæ solet matres furiare equorum, &c. Hor. b. 1. od, 25. VOL. XX. This garment's fringe, which Delphis wont to wear, To burn in flames I into tatters tear. Ah, cruel Love! that my best life-blood drains From my pale limbs, and empties all my veins, As leeches suck young steeds-Restore, my charms, 70 My lingering Delphis to my longing arms. No kindness he nor pity will repay; Spit on the threshold, Thestylis, and say, "Thus Delphis' bones I strew"-Restore, my charms, The dear, deluding Delphis to my arms. She's gone, and now, alas! I'm left alone! Her offering paid, and left the virgin train, 80 Mr. Gay had this passage in view. These golden lines into his mug I'll throw, And soon the swain with fervent love shall glow. Past. 4. 83. The Athenian virgins were presented to Diana before it was lawful for them to marry, on which occasion they offered baskets full of little curiosities to that goddess, to gain leave to depart out of her train, and change their state of life. Potter. 95. This is a stroke on the pride of those women who trick themselves in hired clothes; and N Say, sacred Phoebe, whence arose my flame- For bones and skin were all that I had left: Time wing'd his way, but not to sooth my Woes Say, sacred Phoebe, whence my flame arose- 120 Say, sacred Phoebe, whence arose my flame- 130 And all in secret to my arms she brought. is entirely similar to a passage in Juvenal, Sat. Ut spectet ludos conducit Ogulnia vestem. 105. The Greek is Χως ίδον, ως εμανην κ. τ. λ There is a similar line in the 3d Idyl. ver. 42. Ως ιδεν, ως εμανή, ως εις βαθυν αλλετ' έρωτα. Virgil has Ut vidi, ut perii, ut me malus abstulit error. Cold as the snow my freezing limbs were ehill'd, Senseless I stood, nor could my mind disclose Say, sacred Phoebe, whence my flame aroseMy strange surprise he saw, then prest the bed, 150 Fix'd on the ground his eyes, and thus he said; say 160 "Had you receiv'd me, all had then been well, For I in swiftness and in form excel; And should have deem'd it no ignoble bliss The roses of your balmy lips to kiss: Had you refus'd me, and your doors, been barr'd, With axe and torch I should have come prepar'd, Resolv'd with force resistance to oppose”— 170 Say, sacred Phabe, whence my flame arose 137. Dirigait visu in medio: calor ossa reliquit. En. b. s. 308. If the learned reader will compare this passage with Sappho's celebrated ode Εις την ερωμένην, he will ând great similarity both in the thoughts and expressions. 153. Heinsius observes there was a custom at Athens, that whenever a young man was smitten with the beauty of any lady, especially that of a courtezan, he wrote her name in a place appointed for the purpose, with some encomium upon her, and having acknowledged his passion, the day following he appointed for a festival, m Ty avadnow, that is, to crown her head with a 113. The literal translation of this passage is, wreath of flowers and ribbauds. Thus in Plato, And my colour was like thapsus:-a4o, is a Sey-Alcibiades, at a festival, resorts to Agatho, with a thian wood of a boxen or golden colour; some take it to be the Indian guaiacum. The women that chose to look pale tinged their checks with it. Heinsins's Notes. which is confessedly inferior to the Greek. crown and ribands to adorn his head. Populeis adsunt evincti tempora ramis. 166. With axe and torch, &c.] If after rapping B. 3. ed. 26. More raging fires than Etna's waste my frame”— Say, sacred Phoebe, whence arose my flame"Love from their beds enraptur'd virgins charms, And wives new-married from their husbands' arms." He said, (alas, what frenzy seiz'd my mind!) Meanwhile I'll call enchantment to my aid: 200 175. Love from their bowers] The Greek is masterer ex bahapoo, the thalami signified the inner chambers where the virgins were kept closely confined, and not permitted to converse with men. In Homer, Iliad, b. 6. the rooms where Priam's daughters lived are called reyes anapun, as being placed at the top of the house; for the women's lodgings were usually in the uppermost rooms, as Eustathius remarks upon the passage; which was another means to keep them from company. 180. And sweetly whisper'd] Efifugisques adu. See Idyl. 1. ver. 1. 193. That it was usual for lovers to adorn their houses with flowers and garlands in honour of their mistresses, is evident from a passage in Catullus, de Aty, ver. 66. Mihi floridis corollis redimita domus erat, Linquendum ubi esset orto mihi sole cubiculum. Fair flowery wreaths around my house arc spread, When with the rising Sun I leave 202. His ego Daphnim aggrediar. my bed. Ecl. 8. 102. Now, Cynthia, drive your coursers to the main; IDYLLIUM III*. AMARYLLIS. ARGUMENT. A goatherd declares his passion for his mistress Amaryllis, laments her cruelty, commends her charms, solicits her favours, and distracted at the thoughts of not obtaining them, threatens to drown himself, tries experiments to know if she loves him, sings love-songs, and seems resolved to die, and be devoured by wolves. To Amaryllis, lovely nymph, I speed, This Idyllium affords us a specimen of ancient gallantry, namely, of the Tagaxavstupov, or mournful song, which excluded lovers used to sing at the doors of their mistresses: they had two methods of performing this, one was to sing it as they lay on the ground, thus Horace, ode 10. b. 3, was sung while the lover was porrectus ante fores; but this was performed standing, and with great gesticulation of body, and motion of the feet: it is, called Comastes, which signifies, according to Hesychius, a shepherd that dances and sings at the same time. The turns in this song are very abrupt, sudden, and striking, and give us a lively picture of a distracted lover. 2. Pascuntur vero sylvas et summa Lycæi. Geor. 3. 314. 3. O Tityrus, &c.] Virgil has translated these three lines; Tityre, dum redeo, brevis est via, pasce ca- Et potum pastas age, Tityre: et inter agendum This passage of Virgil, Dr. Martyn thinks, seems to intimate, that he was engaged in translating the Idylliums of our poet. 6. The ram] The Greek is voy, which in Thus Hothis place undoubtedly signifies a ram. mer has Πεντεκοντα δ' ενορία κ. τ. λ. Full fity rams to bleed in sacrifice. Pope's Iliad, b. 23 Creech and Dryden have rendered it ridgil: \ Dryden and Warton also have rendered the word capro in Virgil by the same term. 10. Dumque tibi est odio mea fistula, dumque Hirsutumque supercilium, prolixaque barba, Does my flat nose or beard your eyes offend?- grew; Accept this boon, 'tis all my present store- 20 To pierce your ivy shade with murmuring sound, Fed with her whelps, and nurs'd him in the On me his scorching flames incessant prey, Soft are your looks, but flinty is your heart; 12 This love, &c.] Mori me denique coges. 30 Ecl. 2. 7. 13. Quod potui, puero sylvestri ex arbore lecta Aurea mala decem misi: cras altera mittam. Ecl. 3. 70. 20. A bee to buzz] The Greek is, A Boußevca Mithoon, and is very expressive of the sense. Idyl. 1. 137. See 22. And the fern leaves, &c.] The ancient shepherds often made themselves beds of fern, because they imagined that the smell of it would drive away serpents. 23. I know thee, Love, &c.] Virgil has, Nunc scio quid sit Amor: duris in cotibus illum Ismarus, aut Rhodope, aut extremi Garamantes, Nec nostri generis puerum nec sanguinis edunt. Ecl. 8.-43. These ideas, not owing their original to rural objects, are not pastoral, and therefore improper: sentiments like these, as they have no ground in nature, are indeed of little value in any poem, but in pastoral they are particularly liable to censure, because they are more proper for tragic or heroic writings. Rambler, No. 37. Pope, endeavouring to copy Virgil, was carried to still greater impropriety; I know thee Love! on foreign mountains bred, 32. For me, &c.] Εστι και εν κενεοισι φιλαμασιν αδια τέρψις; Exactly the same verse occurs, Idy!. 27.1. 4. Moschus calls it, yuμrov to Qiñaμa, a naked kiss. 40 Where rose-buds mingled with the ivy-wreath, And fragrant parsley sweetest odours breathe Nor sees my sorrows, nor will hear my prayerAh me! what pangs I feel? and yet the fair I'll doff my goat-skin, since I needs must die, And thence, where Olpis views the scaly fry Inquisitive, a dire impending steep, Headlong I'll plunge into the foamy deep; And though perchance I buoyant rise again, You'll laugh to see me flouncing in the mainBy one prophetic orpine-leaf I found Your chang'd affection, for it gave no sound, Though on my hand struck hollow as it lay, But quickly wither'd, like your love, awayAn old witch brought sad tidings to my ears, She who teils fortunes with the sieve and sheers; 50 For, leasing barley in my fields of late, She told me, "I should love, and you should hate" For you my care a milk-white goat supplied, 35. Floribus, atque apio crines ornatus amaro. Ecl. 6. 68. the virtue of dissipating the vapours of wine. The ancients thought that ivy and parsley had 42. Headlong I'll plunge, &c.] Virgil has, Præceps aërii speculâ de montis in undas Deferar. Ecl. 8. 59. 45. Orpine] Tλ20 is probably orpine, a low plant whose branches trail on the ground; the leaves are small, roundish, and of a glaucous colour, the flowers small and of a whitish green. Cool violets, and orpine growing still, 49 An old witch.] The Greek is Aygow, and generally taken for a proper name; but Heinsius, with good reason, thinks it should be wrote a ygala, an old woman. 6th Idyl. ver. 40. We have a similar passage in the didaer. Ταύτα γαρ α γραια με Κοτυτταρι For this the old woman Cottytaris taught me. 50. Sieve and sheers] This was another sort of divination. 53. For you my care, &c.] Virgil has entirely copied this; Præterea duo nec tutâ mihi valle reperti orat; Et faciet; quoniam sordent tibi munera nostra. right eye was reckoned a lucky omen. |