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that none but men are to be introduced, and eveni
και Λαοί δ' έργα περιστέλλουσιν έκηλοι.
• Οι γάρ τις δηΐων πολυκήτεα Νείλον επεμβάς
Πεζός εν αλλότρίαισι βααν έστάσατο κώμαις. « The farmer fearless plows his native foil; “ No hostile navies press the quiet Nile: « None leaps alhore, and frights the lab'ring swains; « None robs us of our flocks, and spoils the “ plains.”,
CREECΗ. The Epithalamium on the marriage of Helen, sung by the Spartan (virgins, in the eighteenth, does not lose sight of the country: and the inscription on the bark of the plane-tree is expressly said to be in the Doric,'or rustic dialect';
*Αμμες δ' ες δρόμον ήρι και ές λειμώνια φύλλα
But we will run thro' yonder spacious mead, “ And crop fresh flow'ry crowns to grace thy head. «« Mindful of Helen ftill, as tender lambs, ". Not wean'd as yet, when hungry mind their dams,
« We'll first low lotus pluck, and crowns compose, « And to thy honour grace the shady boughs: « From silver boxes fweetest oils shall flow, “ And press the flowers that rise as sweet below; " And then inscribe this line, that all may
see, Pay due obedience, I am Helen's tree,
The eighteenth is a short copy of verses on Cupid's being ftung by a bee; which is far from being out of the reach of a country poetor. The nine teenth is bucolical enough. A rough neatherd complains of the pride and insolence of a city girl, who refused to let him kiss het, and created him in a most contemptuous manner. He appeals to the neighbouring shepherds, and asks them, if they are not sensible of his beauty: his beard is thick about his chin, like ivy round a tree; his hair spreads like smallage about his temples; his white forehead shines above his black eye-brows; his eyes are more blue than those of Minerva, his mouth is sweeter than cream ; his voice is sweeter than a honey-comb; his song is sweet; he plays on all sorts of rural pipes; and all the women on the mountains admire and love him, though this proud minx has despised him. He gives her to understand, that Bacchus fed a heifer in the
valleys; that Venus was passionately fond of a herdman on the mountains of Phrygia; that she both loved and lamented Adonis, in the woods. He alks who was Endymion ? was hé not a herdman, and yett
t the Moon fell in love with him, as he was feeding his kine, and came down from heaven to embrace him. Rhea lamented a herdman, and Jupiter was fond of a boy that fed cattle. The dialogue between the two fishermen, in the twenty-first, cannot indeed be said to be Arcadian; for: Arcadia was a midland country: but, as Sicily is an island, it was natural enough for a Sicilian herdman to telate a dialogue between two neighbours, whose business was on the sea shoár. But the twenty-second is a hymn, after the manner of the ancient Arcadians, in praise of Castor and Pollux:
Υμνέομες Λήδας τε και αίγιόχο Δίος υιώ,
Κάστορα και φοβερον Πολυδεύκεα αυξ ερεθίζεν. The desperate lover, in the twenty-third may eastly be imagined to belong to the country: though the narration of his passion is very tragical. We cannot affirm any thing with certainty concerning the twenty-fourth and twenty-fifth ; as the end of one, and the beginning of the other is wanting. They are however both in praise of Hercules; and therefore belong to the Arcadian poe
try: as does also the twenty-fixth, in which the death of Pentheus is related, who violated the Orgies of Bacchus. The dialogue between Daphnis and the Shepherdess, in the twenty-seventh, is a complete scene of rural courtship, and must be allowed to be a true Pastoral.
In the twentyeighth Theocritus himself presents a distaff to Theogenis
, the wife of his friend Nicias, á Milefian physician ; a proper present, no doubt, to be sent out of the country, and a subject worthy of a rural poet. The twenty-ninth is concerning Love, the common subječt of most Paftorals. The thirtieth is in Lyric measure, and the subject of it is the boar that wounded the shepherd Adonis, the favourite of Venus.
It appears plainly, from this review of the Idyllia of Theocritus, that the Greek Poet never intended to write such a sett of poems, as the modern Criticks call Pastorals. They were Poems on several occasions, written by a Sicilian herdman, or by one who assumed that character. The greater part of them are of the Dramatic kind, each Idyllium being a single Scene, or Dialogue between the several forts of Herdmen, their wives, or neighbours. Some of them are Narrative, the Poet speaking all the while in his own person. The rest are Poems in praise of Gods