Sivut kuvina

Ver. 9. Hence Apollo, from the Greeks, had the appellation of Zhtt «>.i£tx«xc>f, (deus malorum dcpulsor ', bestowed an him , as the Latins called hlim jivertuitcui.

Ver. 10. All expiations and ** purgamenta" were, by the ancients, performed either op the brink of a river, or on the sea shore this practice continued long after the introduction of Chrn'iattity, fur we arc informed by Petrarch, that he saw the women of Cologne, with garlands on their heads, warn their arm, in the Rhine, while they muttered some foreign charm. The poet, wondering both at the crowd and the action, inquired the reason, and was told, that it was a very ancient rite, the common people believing that all the calamities of the ensuing year were prevented by the sokmu ablution of that day. Vide lib. i. J- p 4

Petrarch flourished in the fourteenth century, and was no less eminent for his Latin (insomuch that he obtained the appellation of the restorer of that language), than for his Italian compositions. In propriety, exactness, elegance, and melody he surpassed all his poetic predecessors; and so much was he esteemed, that a man, for haviag sh it, out of wantonness, at his statue in Padua, and bt> ke its nose, was hanged by the Venetians. Vindelino Spira published the first edition of his Rime, at Venice, A. O. 1470.

Ver. 18. Some editions read " sedula ;" and indeed the epithet is more consonant to the interpretation which Broekhusiu* and the translator have given of the passage. Vulpius explains the ** credula turba" to be those, who, either about Sulpicia's bed, or in the temples of the gods, put up petitions for her recovery.

Ver. 27. This is an elegant compliment on the professors of medicine.


Ver. 19. In this manner he prayed, lest any of the auditors should envy him, say the commentators; or lest a fascinating tongue " (lingua fascinatrix)" should prevent the completion of his prayers. None, add they, chose iu an audible voice to lay open their real wants to the gods, lest the bystanders should overhear them; and therefore, all those, who desired of the god» what was extravagant, or what was immodest, or in short what they did not choose to own, either muttered their vows, or whispered them iu the tar of their deity. And thus the ancients, as Seneca expresses it, told that to God, which they were ashamed a mortal should be made privy to. "Quanta dementia esthominum? turpislima vota Dii» insusurrant: si quis admoverit aurem contiscefeent; et quod scirc hominem nolunt, Deo natrant." Ep. 10. See this impiety severely treated by Vcrsius, in his second satire.


Ver. a. Sulpicia had a good title to that epithet; far in the following line, she said no more

of her poetical endowments, than she modestly might,

Primaque R -manc-t docui contendere graiis.

That the Romans should have produced not one poetess before Supicia, to put them more upon a level with the Greeks, is matter of no small astonishment; since, as Cato observed, the Romans governed the world, but the women governed the Romans. How many fair poetesses has this island produced? and in particular, how many does Britain at present boast os, whose writings, both in prose and verse, may be compared, much to their advantage, with all the female productions of antiquity?

Besides Sulpicia, the poets mention Perilla and Theophila. Perilla lived in the Augustan age, and is praised by Ovid, Trist. lib. iii. el. 7. The other was a cotemporary of Martial's, who celebrates her, lib. 7. ep. 68. Their works, if ever they published any, are now lost. But we have a Virgilian canto on the life of our Saviour, written in the reign of Theodofms and Honorius, by Proba Falconia. This poetess, who was married to a petson of proconsular dignity, is accused by some of having betrayed Rome into the hands-of Alaric the Goth; but Cæsar Baronius has fully cleared her from that disloyal imputation.

Juvenal, Boileau, and others, have expressed, in their writings, a vast aversion to learned women; and indeed were all of the sex, who have learning, to be such as they represent them, the translator would heartily join with the satirists: but how can he do it, whilst he has the honour to know some ladies, who possess as great a fund of erudition, as most men arc enriched with, and who, nevertheless, are entirely free from all those disagreeable concomitants, with which those poets have loaded their armed women? In short, when we consider in what manner the welfare of society depends upon the fair sex, we cannot but own, that their understandings ought to be cultivated with much assiduity; a fine woman, with a good heart, and an impruved head, is the loveliest objtct in the creation.

Ver. 9. The word compatere, in the otiginal, is a metaphor taken from gladiators, who were then said compoti, when they fought together, and were well matched. Vulpius.

Ver. 3. ia purple pomp appear."\ That is,.in a

palla of purple; which not unty Apollo and his votaries, with Osiris, wore, but in which also Bacchus, Mercury, Pallas, Night, the Furies, Discord, and even rivers were habited. "Adeo semper," says Macrobius," ita se et feiri et coli minima malucrunt, qualiter in vulpus antiquitaa fabulata est; qux et imagines et simulacra formarum talium prorsus alicnis, et ætates tarn increment! quam tbniinutiouis ignaris, et amictus ornatusque varios corpus non habentibus adsignavit."


Ver. 16. Vulpius retains the old reading, jam sua mente rogat, aud explains it, as if Sulpicii were now " sui juris et arbitrii," of age, and fit to make vows for herself; but had that ingenious commentator attended to the words" clam et tacita" in the fame line, he would have seen that the true reading was that which is retained in the text.

Ver. 17. Menage observes of the original of this passage, that an active should not follow a passive verb; and therefore contends that the •' urunt" should be " uruntur:" and yet we know that the contrary practice is warranted by some of the purest writers of the Augustan age: and, if the translator is not mistaken, that learned grammarian himself has, in his Latin poems, fallen into the mode of expression, which he here condemns in Sulpicia.

POEM VII. Ver. 3. The villa, mentioned in the original, is Eretum, now Monte Ritondo It was situated upon a high hill, not far from the bank> of the Tiber, and was therefore cool, even in the midst of summer. Cluveriui places it -)t the distance of fourteen miles from Rome; but Holftcnius, in his Annot. Gcogr. on the authority of Antoninus's Itinerary, and Feriarius removes it four miles farther off.


Ver. I. From the original, the commentitw conclude, that Sulpicia was the daughter of ix famous Serviui Sulpicius, who died at Modaa, whilst he was engaged in an embassy to Antotj, which he had undertaken at th« request of the n» fills Hirtius and Panfa, and of the senate butiha they seem to forgot that Servius was a prjtnoma common to all the males of the Sulpician faacly and therefore not distinguifhingly charaeterifcca! any one of them. Those who suppose thitTiM lus wrote these poems, and believe he was ha in 710, make him a poet before his birth: k, fays Brockhusius, Sulpicia speaks of her parent if both were alive. Although the traouiis persuaded that the pieces in this book are not bullus's, yet he can fee nothing in the pnea support this assertion. Sure Sulpicia might herself the daughter of Servius Sulpicius, txiti standing her father's death; and the two !a9 of the original may be applied to her neare!l tions or guardians, with as much propriety a her parents.

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Dedication to the Honourable Charles

Yorke, ------ 69

Preface, ------ ib.

Some Account of the Life and Writings of

Theocritus, ----- 73
An Essay on Pastoral Poetry. By Edward

Burnaby Green, Esq. - - - 78

Idyllium I. Thyrsis; or, the Himcran Ode, 8a

Notes on Idyllium I. - - - - 84

Idyllium II. Pharmaceutria, 87

Notes on Idyllium II. - - - - 89

Idyllium III. Amaryllis, ... 91

Notes on Idyllium III. - - - 91

Idyllium IV. The shepherds, - - 93
Notes on Idyllium IV. 94
Idyllium V. The Travellers, - - 95
Notes on Idyllium V. - - - - 97
Idyllium VI. The Herdsmen, 99
Notes on Idyllium VI. ib.
Idyllium VII. Thalyfia; or, the Vernal

Voyage, - - - - - 100

Notes on Idyllium VII. ... 101

Idyllium VIII. The Bucolic Singers, - 105

Notes on Idyllium VIII. - - 1*6

Idyllium IX. Daphnisand Mcoalcas, - 107

Notes on Idyllium IX. ... 108

Idyllium X. The Reapers, - - 109


Notes on Idyllium X. ...

Idyllium XI. Cyclops,
Notes on Idyllium XI. -
Idyllium XII. Aites, ...
Notes on Idyllium XII. - . -
Idyllium XIII. Hylas, ...
Notes on Idyllium XIII. ...

Idyllium XIV. Cynisca's Love, •

Notes on Idyllium XIV -

Idyllium XV. The Syracusan Gossips,

Notes on Idyllium XV ...

Idyllium XVI. The Graces; or, Hiero,

Notes on Idyllium XVI. ...

Idyllium XVII. Ptolemy, - - -
Notes on Idyllium XVII.
Idyllium XVIII. The Epithalamium of He
len, ------

Notes on Idyllium XVIII. - -
Idyllium XIX. The Honey-Stealer,
Notes on Idyllium XIX. ...

Idyllium XX. Eunica; or, the Neatherd,

Notes on Idyllium XX. ...

Idyllium XXI. The Fishermen, -

Notes on Idyllium XXI. ...

Idyllium XXII. Castor and Pollux,

Notes on Idyllium XXII.

Idyllium XXII. Pan II. -

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VIII. Orfhon's Epitaph,

IX. On the Fate of Clennicus,

X. On a Monument erected to the Mcsc«,

XI. Epitaph on Euslhenesthe Physiognomic,

XII. On a Tripod dedicated to Bacchus, fcr

Demoteles, ....

XIII. On the Image of the Heavenly Van,

XIV. Epitaph on Eurymedon,

XV. On the fame, ....

XVI. On Anacreon's Statue,

XVII. On Epicharmus, ...

XVIII. Epitaph on Clita, the Nurse ol Me-

rieus, .... -

XIX. On Arcliilochus, ...

XX. On the Statue of Pifinder, who miui

a Poem, styled, " The Labours of Hero

les," -

XXI. Epitaph on the Poet Hipponax,

XXII. Theoctitus on his own Works,

Notes on the Epigrams, -

The Combat between Pollux and Amyci

From Apollonius, Book II.

Notes on the Combat between Pollox au;

Amycus, .....

Ode IV. On Himself,

Ode V. On the Rose,

Ode VI. The Party os Pleasure,

Ode VII. The Power of Love,

Ode VIII. The Dream,

Ode IX. The Dove,

Ode X Cupid in Wax,

Ode XI. By another Hand.

Ode XII. On a Swallow,

Ode XIII. On Aty»,

Ode XIV. Love Irresistible,

Ode XV. By Dr. Broome.

Ode XVI. By Dr. Broome.

Beauty, -

Ode XVII. The Silver Bowl,

Ode XVIII. On the same,

Ode XIX. We ought to Drink, -

Ode XX. By Dr. Broome. To his Mistress,

Ode XXI. Summer, -

Ode XXII. By E. G. B. Esq. The Bower,

Ode XXIII. The Vanity of Riches,

Ode XXIV. Enjoyment, -

Ode XXV. Wine banislje» Cares,

On Himself,

Happy Life,

The Power of






















Ode XXVI. The Transports of Wine,

Ode XXVII. The Praise of Bacchus, -

Ode XXVIII. From the Guardian. Ha

Mistresses Picture,

The same Ode Imitated. By another Hu<t

Ode XXIX. Bathyllus,

Ode XXX. Cupid taken Prisoner,

Ode XXXI. The pleasing Frcnxj,

Ode XXXII. The Number of his Mifkrƫ,

Ode XXXIII. The Swallow,

Ode XXXIV. To his Mistress, -

Ode XXXV. On the Picture of Eumpa.

Ode XXXVI. By Dr. Broome. Life uWi

be enjoyed, ...

Ode XXXVII. By Dr. Broome. TheSpHrf,^

Ode XXXVIH. On Himself,

Ode XXXIX. On Himself,

Ode XI.. Cupid Wounded,

Udc XLI. The Banquet of Wine,

Ode Xl.II. On Himself, -

Ode XLIII. The Grafnopper,

Ode XUV. The Dream, -

Ode XLV. By another Hand. Cupid's Darts, 1:

Ode Xl.VI. The Power us Gold, - &

Ode XLVII. Young Old-Age, - - i

Ode XLVIU. By Dr Broome. Gay LHe,

Ode XLIX. By another Hand. To 1

Painter, .

Ode L. By Dr. Broome. The Happy foeeb

of Wine, - - - - . t

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