Narcissum et florem jungit bene olentis anethi. our poet, intending here to ex- Summa papavera.] Servius says the poet mentions poppies, daffodils, and dill, because papaver, narcissus, and anethus, were the names of three beautiful boys, who were turned into those flowers. The story of Narcissus is known, but I do not remember to have read of the other two. Poppies have been spoken of at large in the note on ver. 78. of the first Georgick. The sort here intended is the common red poppy, which grows wild among the corn. It is mentioned here, as well as by Theocritus, because it was anciently used in some little amorous fooleries. 50 It does not grow wild in England. Casia.] "Daphne creorum, a species of mezereon." Sprengel. Intexens.] These flowers and herbs were to be woven into a garland. It was a custom amongst the ancients to present such garlands to those whom they loved. Caltha.] It is hardly possible to determine certainly what plant the poets meant by their caltha. We find, by the epithet luteola in this place, that it had a yellow flower; which is confirmed also by Columella. Therefore it may very well be our common marigold, according to the general opinion. Cana legam tenera lanugine mala.] The fruits here mentioned are almost universally affirmed to be quinces, which, without doubt, have a hoary down, and therefore so far agree with the poet's description. The only objection I have to this interpretation is, that the quince is of so austere a taste, that the shepherd could not think of offering it to a young palate. Nor do I find that it is at all better in those warmer climates; or that the Greeks or Romans used to eat it raw and it cannot be supposed that Corydon spake of dressing it. It seems more probable, that it was some other more delicious fruit. Pliny speaks of a sort of downy apples, which he calls mala lanata: Castaneasque nuces, mea quas Amaryllis amabat; Rusticus es, Corydon, nec munera curat Alexis : but we are much at a loss to know what he meant; and the critics generally think the text to be very corrupt in that passage. I should imagine, that the apples here meant might be peaches or apricots, if Pliny had not informed us that they were not known in Italy till thirty years before his time, and that they were sold at a great price. Addam cerea pruna.] Plums may be called waxen, from their colour being yellow, like new wax. Honos erit huic quoque pomo.] It is the general opinion of the commentators, that this refers to the plums just mentioned. The sense, therefore, is, that as Amaryllis was fond of chesnuts, so Alexis delights in plums; and on that account plums shall be esteemed a noble fruit. There is a thought like this in the seventh eclogue, where it is said, that though Hercules loves the poplar, Bacchus the vine, Venus the myrtle, and Apollo the bay; yet since Phyllis admires the hazel, the hazel shall be preferred to them all. Pomum is certainly used to express any sort of fruit almost that is eaten. 55 Rusticus es, Corydon, &c.] This eclogue concludes with a beautiful mixture of various passion. Corydon, having just expatiated on the plenty of gifts which he was preparing for Alexis, on a sudden ems to fall into despair. He reflects on the meanness of his own condition, and on the little value of his presents, in comparison with what the more wealthy Iolas had in his power to give. He no sooner mentions the name of his rival, than he bursts into an exclamation at his own imprudence for so doing. Then being afresh agitated by love, he expresses his astonishment to see Alexis despise the country which had been the seat of gods; endeavours to persuade him to prefer a rural life before any other. He then expresses the violence of his desire, and on a sudden recollects himself, reflects on the negligence in his own affairs, which this unruly passion had caused, and encourages himself to give over his folly, and mind his business. Quid volui misero mihi?] Ruæus mentions three different interpretations of this passage:— 1. That of Ludovicus Vives: I am pouring forth my verses to Perditus, et liquidis immisi fontibus apros. Quem fugis, ah demens? habitarunt dii quoque sylvas, 60 Ipsa colat nobis placeant ante omnia sylvæ. Te Coon, O Alexi: trahit sua quemque voluptas. 65 Et sol crescentes decedens duplicat umbras: Me tamen urit amor; quis enim modus adsit amori ? deaf ears; just as if I had exposed myers to be torn by the winds, and let in the dirty swine to trample in my clear springs. 2. That of Nannius; I have ruined my flourishing affairs by this passion. He confirms this opinion by the two proverbs of the flowers and the swine, and by these expressions which follow soon after; Quæ te dementia cepit ? Semiputata tibi, &c. 3. That of Abramus; What have I said unawares? I have mentioned Iolas and his more powerful gifts. Should Alexis hear this, he will certainly prefer my more dangerous rival, which will be as destructive to me, as if I had exposed my flowers to the southern blasts, and my clear springs to the swine. Dardaniusque Paris.] Paris, the son of Priam king of Troy, is said to have fed sheep on mount Ida. Pallas.] Pallas is said to have been the inventor of building. Aratra jugo referunt suspensa juvenci.] At the beginning of this eclogue, the poet had marked the time of noon by the feeding of the cattle under the shade, the lizards hiding themselves under the bushes, the reapers sitting down to their repast, and the cicada chirping in the thickets; all which circumstances, having an immediate relation to the country, are mentioned with great propriety. In like manner he now describes the close of the day by the oxen bringing back the plough, and by the increase of the shadows. These words aratra jugo suspensa allude to the manner of bringing the plough home, when the labour of the day is over. It is then drawn backward; and as the share does not then enter the ground, the labour of drawing it is inconsiderable; and so it may be said to be only just hung upon the yoke. Sol crescentes decedens duplicat umbras.] This description of the evening by the length of the shadows is very suitable to pastoral poetry. Me tamen urit amor.] This is a strong expression of the vehemence of Corydon's love. He has just observed, that it is now Ah Corydon, Corydon, quæ te dementia cepit! the cool time of the evening, notwithstanding which, he is still scorched by his furious passion. He seems to tell us, that the fire within him is so great, that he should not have imagined the cool evening to approach, if he had not seen the oxen returning from their work, and observed the shadows to in crease. Ah, Corydon, Corydon, &c.] The shepherd begins at last to perceive the folly of his passion; and to lament his error in having neglected his necessary affairs. Semiputata tibi frondosa vitis in 70 ulmo est.] Serviu has justly 1 P. VIRGILII MARONIS BUCOLICORUM ECLOGA TERTIA. PALÆMON. MENALCAS, DAMETAS, PALEMON. MEN. DIC mihi, Damota, cujum pecus ? an Melibœi? DAM. Non, verum Ægonis: nuper mihi tradidit Ægon. Dic mihi, Damata, &c.] This eclogue contains a dispute between two shepherds, of that sort which the critics call Amobea. In this way of writing, the persons are represented to speak alternately, the latter always endeavouring to exceed, or at least equal, what has been said by the former; in which, if he fails, he loses the victory. Here Menalcas and Damotas reproach each other, and then sing for a wager, making Palæmon judge between them. Menalcas begins the contention, by casting some reflections on his rival Egon, and his servant Damotas. Damata.] Vives, according to custom, will have this eclogue D |