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Evolat in tepidos Cypridos ille sinus.
Et mihi de puero non metus ullus erat.
Et modo villarum proxima rura placent.
Splendida per medias itque reditque vias :
Fallor? An et radios hinc quoque Phæbus habet ? Hæc ego non fugi spectacula grata severus,
Impetus et quo me fert juvenilis, agor, Lumina luminibus male providus obvia misi, Neve oculos potui continuisse meos.
60 Unam forte aliis supereminuisse notabam,
Principium nostri lux erat illa mali, Sic Venus optaret mortalibus ipsa videri,
Sic regina Deum conspicienda fuit.
Solus et hos nobis texuit ante dolos.
Et facis a tergo grande pependit onus :
Insilit hinc labiis, insidet inde genis:
Hei mihi, mille locis pectus inerme ferit.
57. See note El. i. 50. In 12mo. Written much earlier. A Milton's youth the fashionable young lady, he says, p. 35. places of walking in London were Hyde Park, and Gray's
Frequents the theaters, Hide Park, or
els talkes Inn walks. This appears from
Away her pretious time in Gray's Inn Sir A. Cokain, Milton's contem
walkcs. porary. Poems, Lond. 1662.
Uror amans intus, flammaque totus eram. Interea misero quæ jam mihi sola placebat,
75 Ablata est oculis non reditura meis. Ast ego progredior tacite querebundus, et excors,
Et dubius volui sæpe referre pedem. Findor, et hæc remanet: sequitur pars altera votum, , Raptaque tam subito gaudia flere juvat.
80 Sic dolet amissum proles Junonia cælum,
Inter Lemniacos præcipitata focos:
Vectus ab attonitis Amphiaraus equis.
85 Nec licet inceptos ponere, neve sequi. O utinam, spectare semel mihi detur amatos
Vultus, et coram tristia verba loqui! Forsitan et duro non est adamante creata,
Forte nec ad nostras surdeat illa preces ! Crede mihi, nullus sic infeliciter arsit,
Ponar in exemplo primus et unus ego. Parce precor, teneri cum sis Deus ales amoris,
Pugnent officio nec tua facta tuo. Jam tuus O certe est mihi formidabilis arcus, 95
Nate dea, jaculis nec minus igne potens:
84. Vectus ab attonitis Amphia. The application is beautiful from raus equis.) An echo to a penta- a young mind teeming with meter in Ovid, Ep. Pont. iii. i. 52. classical history and imagery.
Notus humo mersis Amphiaraus equis. The allusion, in the last couplet, See Statius, Theb. vii. 821.
to Vulcan, is perhaps less hapIllum ingens haurit specus, et transire py, although the compliment is parantes
greater. In the example of AmMergit equos; non arma manu, non phiaraus, the sudden and striking frena remisit;
transition from light and the sun Sicut erat, rectos defert in Tartara to a subterraneous gloom, perRespexitque cadens cælum, campum
haps is more to the poet's purque coire
pose. Ingemuit, &c.
Et tua fumabunt nostris altaria donis,
Solus et in superis tu mihi summus eris.
Nescio cur, miser est suaviter omnis amans :
Cuspis amaturos figat ut una duos,
HÆC ego, mente olim læva, studioque supino,
Nequitiæ posui vana trophæa meæ. Scilicet abreptum sic me malus impulit error,
Indocilisque ætas prava magistra fuit. Donec Socraticos umbrosa Academia rivos
Præbuit, admissum dedocuitque jugum. Protinus extinctis ex illo tempore flammis,
Cincta rigent multo pectora nostra gelu. Unde suis frigus metuit puer ipse sagittis,
Et Diomedeam vim timet ipsa Venus.*
1. The elegiac poets were a- “olive grove of Academe, mong the favourite classical au- “ Plato's retirement." Par. Reg. thor's of Milton's youth, Apol. iv. 243. Smectymn. " Others were the 10. Et Diomedeam vim timet “ smooth Elegiac Poets, whereof ipsa Venus.] Ovid makes this “ the schools are not scarce: sort of allusion to Homer's inci“ whom, both for the pleasing dent of Venus wounded by Dio“sound of their numerous writ- med. In the Remedy of Love, ing, which in imitation I found
V. 5. most easy, and most agreeable Non ego Tydides, a quo tua saucia “ to nature's part in me; and « for their matter, which what it In liquidum rediit æthera, Martis is, there be few who know
equis. not, I was so allured to read, See also Metam. xiv. 491. And " that no recreation came to me Epist. Pont. ii. ii. 13. " better welcome." Prose W. These lines are an epilogistic vol. i. 100.
palinode to the last Elegy. The 5. --Umbrosa Academia] The Socratic doctrines of the shady studious walks, and shades, "the Academe soon broke the bonds
of beauty. In other words, his poet is bound; and thus entangled return to the University. he is delivered a prisoner to
They were probably written Næra. El. ix. p. 46. ut supr. when the Latin poems were pre- Fervida, tot telis non proficientibus, pared for the press in 1645.
* Milton here, at an early pe- Fugit ad auxilium, dia Neæra, riod of life, renounces the levities
tuum; of love and gallantry. This was
Et capiti assistens, te dormitante,
capillum not the case with Buchanan,
Aureolum flavo tollit ab orbe come : who unbecomingly prolonged his Et mihi ridenti (quis enim non talia amorous descant to graver years,
vincia and who is therefore obliquely
Rideat ?) arridens brachia vinxit
Amor; censured by Milton in the follow
Luctantemque diu, sed frustra, evaing passage of Lycidas, hitherto
dere, traxit not exactly understood, v. 67. Captivum, dominæ restituitque
Were it not better done, as others use,
ibid. The Amaryllis, to whom Milton alludes, is the Amaryllis of Liber eram, vacuo mihi cum sub Buchanan, the subject of a poem
corde Neæra called Desiderium Lutetiæ. See
Ex oculis fixit spicula missa suis :
Deinde unam evellens ex auricomante Silvæ, iii. tom. ii. p. 50. Opp.
capillum Edinb. 1715. fol. It begins,
Vertice, captivis vincla dedit ma
nibus: O formosa Amarylli, tuo jam septima
Risi equidem, fateor, vani ludibria bruma
metus, Me procul aspectu, &c.
Hoc laqueo facilem dum mihi spero The common poetical name,
Ast ubi tentanti spes irrita cessit, Amaryllis, might indeed have
ahenis been accidentally adopted by Non secus ac manicis implicitus both poets ; nor does it at first genui. sight appear, that Milton used it Et modo membra pilo vinctus miser
abstraher uno. with any restrictive meaning. But Buchanan had another mistress And to this Neæra many copies whom he calls Neæra, whose are addressed both in Buchanan's golden hair makes a very Epigrams, and in his Hendesplendid figure in his verses, and casyllables. Milton's insinuation, which he has complimented more as others use, cannot therefore than once in the most hyperboli. be doubted. “Why should I cal style. In his last Elegy, he strictly meditate the thunkless raises the following extravagant muse, and write sublime poetry fiction on the luxuriant tangles “ which is not regarded ? I had of this lady's hair. Cupid is “ better, like some other poets, puzzled how to subdue the icy « who might be more properly poet. His arrows can do nothing. “ employed, write idle compli. At length, he hits upon the “ments to Amaryllis and Neæra." stratagem of cutting a golden Perhaps the old reading,
« Hid lock from Neæra's head, while “ in the tangles of Neæra's hair," she is asleep, with which the tends to confirm this sense. It VOL. IV.
should be remembered, that him, instances have before ocBuchanan was now a popular and curred, and will occur again, I familiar modern Latin classic, am obliged to an unknown critic, and that Milton was his rival for the leading idea of this very in the same mode of composition. just and ingenious elucidation of And of our author's allusions to a passage in Lycidas,