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The above portrait of the Cyclops (or at least a similar one in Homer's Odyff.) is evidently copied by the writer of the Arabian Nights Entertainments. See vol. iii.

LINE

57. For thee, ten does, all mark'd with moons, I rear.

CASAUBON and Heinsius would read Mavo@ocws, wearing collars, according to the Vatican MS. The ancients, it is true, were fond of ornamenting, in this manner, the animals they had brought up tame. But the common reading hath more fimplicity Alvogopus-all of them pregnant. The translator, however, hath preferred Reiske's conjecture both to the Vulgate and Vatican-Mnvo@opws, marked with little moons. A passage in Homer's Iliad, B. 23, may not unappositely illustrate this emendation : Homer is speaking of a horse,

On whose broad front a blaze of shining white
Like the full moon stood obvious to the fight.

LINE 58.
And four fine cubs, I plunder'd from a bear.
Ovid hath softened the ferocity of these favage bears-pre-
sents that aptly characterize the monster POLYPHEME.

Inveni geminos, qui tecum ludere possint,
Villosa catulos in fummis montibus urfa.

LINE 63.
There, ivy round my bays and cypress twines;

delicious load my blushing vines. The repetition of evi in the original, is particularly beautiful.

There, grapes

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On the red hearth unquench'd my embers live;
Then to the flame my beard---my eye-brows give.

The

The Cyclops here alludes, perhaps, to Telephus's prediction, that his eye should be burnt out by Ulysses. If we take this with us, the sense is obvious and easy. “I could even suffer this eye, which I value fo much, to be burnt by thee, GALATEA,

And, as he had been talking of his fire before, it seems a natural transition.'

WARTON.

6 &c.

Heinsius hath given a very different interpretation, which, however, is far-fetched and improbable. This passage, indeed, hath been absolutely a Crux Criticorum. The translator hath not followed Warton, whose construction, he thinks, is neither obvious nor easy.'

LINE 81.

But yet, at once, my flowers I could not bring;
For these in winter rise, and those in spring.

The distinctness and simple beauty of this passage (in the original) cannot escape the admirers of Theocr.TUS.

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Full many a pretty maid, at dusky eve,
My finiles and jokes with frolic laugh receive.

Lenefque fub noctem fufurri
Compofitâ repetantur horâ, &c.

Horace.

Cornelius Gallus hath described a frolicsome nymph in a pleasing and natural manner

Erubuit vultus ipfa puella meos ;
Et nunc fubridens latebras fugitiva petebat,

Non tamen, effugiens, tota latere volens.
Sed magis ex aliqua cupiebat parte videri,

Lætior hoc multo quod male teeta foret.

We

We meet with some curious lines in Mr. WILLIAM Browne's Pastoral Poems, corresponding with the above

As that her fonne, fince day grew old and weake,
Staid with the maids to run at barlibreake :
Or that he cours'd a parke with females fraught,
Which would not runne except they might be caught.

IDYLLIUM the TWELFTH.

THIS

THIS is one of the Idyllia that (for obvious reasons to the

learned reader) would not admit of a very close translation. The Greek and Latin poets (it is well known) published, without the slightest consciousness of impropriety, such passages as, among us, would meet with universal reprobation : But, melancholy reflection! they were read and admired in the literary ages of Greece and Rome. Is not this circumstance too striking an evidence, that the connection above alluded to, was countenanced, at least, among the ancients ? From too passionate an expression in the poet's painting-a warmth of coloring too vivid —we may often suspect something more than pure attachments founded on a rational esteem,

IDYLLIUM

IDYLLIUM the THIRTEENTH.

LINE

15.

R the hen shook her wing, by twilight's gleam,

Gathering her chicken to the smoky beam. This picture of a hen and chicken is drawn exactly from nature. Nothing can be more pictoresque than the CHC QUEVOS πιερα ματσος. .

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And Hylas, with a filial friendship fraught. Hylas is introduced, in a similar manner, in the Argon. of ORPHEUS. See line 225.

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These Argonauts, the flower of heroes, (or of sailors, as Pindar calls them) were fifty-two in number.

LINE

41.

Sharp oxtongue's flowery plant, and rulhes broad.

The oxtongue (BoToLov ožu) was probably the Carex acuta of Virgil. The leaves of this plant are so fharp, that it wounds the tongues

of oxen, as the word Betouos expresses. See Butumus in Miller. For Cyperus, or the three-cornered Rush, see note on the firit Idyllium, line 1311t in translation.

LINE

56. And sweet NYCHEA, like the blooming spring.

Literally she looked the spring.'

LINE 65.
Meantime, Alcides, clouded o'er by grief.
Valerius Flaccus admirably well paints the sudden and ve-
hement emotion of Hercules, on the loss of Hylas. Arg.
B. 3. 1. 570.

Sed neque apud focios, fruitafque in littore menfas
Unanimem videt æger Hylam; neç longius acrem
Intendens aciem. Varios hinc excitat æftus
Nube mali percuffus amor : quibus hæferit oris,
Quis tales impune moras, casusne deusne,
Attulerit: densam interea descendere noétem
Cum majore metu: Tum vero et pallor, et amens

Cum piceo fudore rigor. Yet we observe his usual pomp of words. All his descriptions, indeed, are inflated. We are delighted by his ardent imagination ; but his turgid expressions intervene, and the pleasure

2 is-momentary

WARTON.

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From the deep water HylAs thrice replied-
-Ut littus, Hyla, Hyla, omne fonaret.
And every wood, and every valley wide
He fillid with Hylas' name, the nymphs eke Hylas cride.

FAIRY QUEEN.

LINE

72. Tho'near, each feeble murmur, as at distance, died !

This line is meant to express the sound issuing from the water, with an undulatory notion, and dying gradually away.

LI'NE 87.
In vain-his HYLAs number'd with the bleft,
The starry seats, in blooming youth, pofseft.

The

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