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̓Αλλὰ τὸ μὲν χαίροισα ποτ ̓ Ὠκεανὸν τρέπε πώλους, Πότνι'· ἐγὼ δ' οἰσῶ τὸν ἐμὸν πόνον, ὥσπερ ὑπέσταν. Χαῖρε, Σελαναία λιπαρόχρος χαίρετε δ ̓, ἄλλοι Αστέρες, εὐχήλοιο κατ' ἄντυγα νυκτὸς ὀπαδοί.

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cuntur plurima Ponto.” Comp. Tibul. lus, i. 5. 15. Euripides, Med. 715. Herod. ii. 85. The Assyrians were notorious sorcerers. - Δέσποινα. She addresses the Moon.

163. ̓Αλλὰ τύ. Comp. i. 2. 4. 10. - Χαίροισα τρέπε. Farewell, and turn, &c. This is similar to χαίρων ἴθι in Euripides, Phœn. 935. — Πώλους. Tibullus also, ii. 1. 87. gives a chariot and horses to the night: "Ludite, jam Nox jungit equos, currumque sequuntur Matris lascivo sidera fulva choro.”

164. Ἐγὼ δ' οἰσῶ. I will bear my grief as I have undertaken it, i. e. according to the proverb: "As I have made my bed, so will I lie.” So this verse is generally interpreted; and so Polwhele: " For, as I've borne my griefs, I yet will bear." Harles says ὥσπερ ὑπέσταν is “ ut promisi,” comparing Euripides, Iphig. Aul. 530. and

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ΑΓΠΟΛΟΣ, Ἢ ΑΜΑΡΥΛΛΙΣ,

Ἢ ΚΩΜΑΣΤΗΣ.

ΕΙΔΥΛΛΙΟΝ γ.

Κωμάσδω ποτὶ τὴν ̓Αμαρυλλίδα, ταὶ δέ μοι αἶγες
Βόσκονται κατ' ὄρος, καὶ ὁ Τίτυρος αὐτὰς ἐλαύνει.
Τίτυρ ̓, ἐμὶν τὸ καλὸν πεφιλαμένε, βόσκε τὰς αἶγας,
Καὶ ποτὶ τὰν κράναν ἄγε, Τίτυρε· καὶ τὸν ἐνόρχαν
Τὸν Λιβυκὸν κνάκωνα φυλάσσει, μή τυ κορύξῃ.
Ω χαρίεσσ ̓ Αμαρυλλὶ, τί μ' οὐκ ἔτι τοῦτο κατ ̓ ἄντρον
Παρκύπτοισα καλεῖς τὸν ἐρωτύλον; * ῥά με μισεῖς;

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ΚΩΜΑΣΤΗΣ. THE SERENADER. Κωμαστής, according to Hesychius, signifies a shepherd, who dances and sings at the same time. This, as well as the former Idyl, represents distracted love, in many abrupt and beautiful transitions of passion. Here also the reader's attention is confined to the action and speech of a single personage. A goatherd declares his love for Amaryllis, deplores her cruelty, extols her charms, entreats a return of affection, and in despair resolves to drown himself.

1. Κωμάσδω. I go serenading to Amaryllis; properly, I go singing and dancing to, &c. – Ταὶ δέ. Comp. i. 9. 2. Βόσκονται κατ' ὄρος. Comp. v. 103. Virgil, Georg. iii. 314. « Pascuntur vero sylvas et summa Lycæi.” - Αὐτάς. The final of this word is short in Doric. Comp. i. 134. ii. 160. 3. Τίτυρ ̓ ἐμίν. Virgil has closely copied this passage, Ecl. ix. 23. "Tityre, dum redeo, brevis est via : pasce capellas, Et potum pastas age, Tityre, et inter agendum occursare capro, cornu ferit ille, caveto.” Martyn fan

cies from this that the Latin bard was
at one time engaged in translating
Theocritus! Comp. A. Gell. ix. 9.
Εμίν. Comp. ii. 144. — Τὸ καλὸν πε-
φιλαμένε. Dearly beloved. Comp. i.
41. Callimachus, Epigr. 56. Matth.
Gr. Gr. $ 446. 7.—4. Τὸν ἐνόρχαν
κνάκωνα. The tawney coloured he-goat.
Some interpret this simply a ridgil, or
a ram ; others translate κνάκωνα,
prum;” others again, as Vossius, ren-
der it mit weisslichen zotten," with
whitish shaggy hair." See the com-
mentators, and a note of Thysius on
the passage of Aulus Gellius above re-
ferred to, Variorum ed. p. 551. Kvá-
κωνα is Doric for κνήκωνα. - 5. Μή
τυ. Comp. i. 56.

"ca

7. Παρκύπτοισα. Doric and poet. for παρακύπτουσα, peeping forth, i. e. stooping and taking a side-glance from the cave. Portus translates it procumbens.” Παρακύπτειν properly signifies to stoop and peep side-ways into a place in passing by ; or, to stoop and look stealthily out of a place. Comp. Aristophanes, Thesm. 797. D'Orville on Chariton, ii. 4. p. 177. and the com

Η ρά γέ τοι σιμὸς καταφαίνομαι ἐγγύθεν ἦμεν,
Νύμφα, καὶ προγένειος; ἀπάγξασθαί με ποιησεῖς.
Ηνίδε τοι δέκα μᾶλα φέρω τηνῶθε καθεῖλον,

Ω μ' ἐκέλευ καθελεῖν τύ· καὶ αὔριον ἄλλα τοι οἰσῶ.
Θᾶσαι μὰν θυμαλγὲς ἐμὸν ἄχος· αἴθε γενοίμαν
̔Α βομβεῦσα μέλισσα, καὶ ἐς τεὸν ἄντρον ἱκοίμαν,
Τὸν κισσὸν διαδὺς καὶ τὰν πτέριν, ᾷ τὸ πυκάσδη.
Νῦν ἔγνων τὸν Ἔρωτα· βαρὺς θεός· ἦ ῥα λεαίνας
Μασδὸν ἐθήλαξε, δρυμῷ τέ μιν ἔτραψε μάτηρ
Ὅς με κατασμύχων καὶ ἐς ὀστέον ἄχρις ἰάπτει.
Ὦ τὸ καλὸν ποθορεῦσα, τὸ πᾶν λίθος ὦ κυανόφρυ

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15

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mentators on Demosthenes, Philip. i.
9. Η ρά με μισείς. The particle 3
here is equivalent to the Latin "num:
Do you then hate me? Virgil, Ecl. viii.
33. Dumque tibi est odio mea fis-
tula, dumque capella, Hirsutumque
supercilium, promissaque barba.”
8. Ημεν. Comp. ii. 41. — 9. Απάγ-
ξασθαί με. Virgil, Ecl. ii. 7. “ Mori
me denique coges.'

10. Ηνίδε. Comp. i. 149. — Δέκα μᾶλα. Comp. ii. 120. Virgil, Ecl. iii. 70. 66 Sylvestri ex arbore lecta Aurea mala decem misi; cras altera mittam.” — Τηνῶθε . . . &. Doric for κεῖθεν, ὅθεν, “illine, unde.” See Bekker, Anecd. Gr. iii. p. 1423.-11. Εκέλευ. Doric for ἐκέλου, second person imperf. of κέλομαι, a poetical form of κελεύω. 12. Θᾶσαι. Comp. i. 149. — Αἴθε γενοίμαν. Comp. Anacreon, xx. 5. seqq. and the imitations cited by Barnes and Longeperre. Add Shakespeare, Romeo and Juliet. ii. 2. 22. — 13. Α βομβευσα. That bee which is humming. Comp. vs. 32. i. 107. Harles supposes the goatherd points to a passing bee. For the use of the article with a participle, see Matth. Gr. Gr. § 270, 271.-14. Tàv πτέριν. "The ancient shepherds used to recline on beds of fern, because they imagined that the smell of it

would drive away serpents.” Fawkes. Neither snakes nor adders of the present day seem to have any antipathy to it.

15. Νῦν ἔγνων. Theocritus had in his mind the following from Homer, 11. Π. 33. Οὐκ ἄρα σοί γε πατὴρ ἦν ἱππότα Πηλεύς, Οὐδὲ Θέτις μήτηρ γλαυκὴ δέ σε τίκτε θάλασσα, Πέτραι τ' ἠρίβατοι· ὅτι τοι νόος ἐστὶν ἀπηνής. Virgil, Eel. viii. 43. "Nunc scio, quid sit Amor: duris in cotibus illum Aut Tmaros, aut Rhodope, aut extremi Garamantes Nec generis nostri puerum nec sanguinis edunt." Comp. Æn. iv. 366. Pope, Pastoral iii. 89. Rambler, No.37.- Bapùs Deós. Comp. Anacreon, xlvi. 1. seqq. Tibullus, iii. 4. 72. Η ρα. Comp. i. 16. ii. 6.16. Δρυμῷ τε. Comp. Homer, Il. Π. 302. 17. Κατασμύχων. Slowly consuming. Κατασμύχειν properly signifies to consume in a smouldering fire, i. e. in a smothered fire without vent or blaze. Comp. Horace, Od. i. 13. 8. iii. 19. 28. Tibullus, i. 4. 81. and Sappho's Ode in the tenth chapter of Longinus, vss. 9. 10.

18. Τὸ καλόν. Beautifully, sweetly : so τὸ πᾶν, wholly. In Lucian's Judge ment of the Goddesses, Paris is called τὸ πᾶν βουκόλος. Comp. vs. 3. i. 41. Matth. Gr. Gr. § 446. 7. - Ποθορεύσα.

Νύμφα, πρόσπτυξαί με τὸν αἰπόλον, ὥς τυ φιλάσω.
Ἔστι καὶ ἐν κενεοῖσι φιλάμασιν ἁδέα τέρψις.
Τὸν στέφανον τῖλαί με κατ' αὐτίκα λεπτὰ ποιησεῖς,
Τόν τοι ἐγὼν, ̓Αμαρυλλὶ φίλα, κισσοῖο φυλάσσω,
Εμπλέξας καλύκεσσι καὶ εὐόδμοισι σελίνοις.
Ω μοι ἐγώ, τί πάθω ; τί ὁ δύσσος; οὐχ ὑπακούεις;
Τὰν βαίταν ἀποδὺς ἐς κύματα τῆνα ἁλεῦμαι,
Ωπερ τὼς θύννως σκοπιάζεται Ὄλπις ὁ γριπεύς.
Κᾔκα δὴ ποθάνω, τό γε μὰν τεὸν ἡδὺ τέτυκται.
Ἔγνων πραν, ὅκα μεν μεμναμένω εἰ φιλέεις με,

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25

Doric for προσοροῦσα. Comp. i. 36. Matth. Gr. Gr. § 202. 12. Ω κυαν όφρυ. Comp. vs. 35. Anacreon, xxviii. 13. xxix. 10. — 19. Ὡς τν. Comp.i.

56.

20. Εστι καί. This verse seems to be taken from an ancient proverb. It occurs again in Idyl xxvii. 4. — Αδέα τέρψις. See Matth. Gr. Gr. §119. 1. 21. Τὸν στέφανον. Constr. ποιήσεις με αὐτίκα κατατῖλαι τὸν στέφανον εἰς λεπτά. Heinsius arranges the words thus: αὐτίκα ποιήσεις με τῖλαι τῶν στέφανον κατὰ λεπτά. Casaubon on Athenæus, p. 561. shows that λεπτὰ is εἰς λεπτὰ μέρη, into tatters, or shreds. 22. Κίσσολο. This is the genitive of the material. The garland was composed of ivy, interwoven with rose-buds and parsley. Schreber, however, makes it the genitive after καλύκεσσι, and translates them Epheuknospen, • ivybuds.” — 23. Καλύκεσσι. Κάλυξ is properly an unblown flower, a bud; in poetry generally a rose-bud. Comp. Æschylus, Agam. 1384. D'Orville on Chariton, p. 508. ed. Lips. - Σελί. νοις. Virgil, Ecl. vi. 68. • Floribus atque apio crines ornatus amaro." Rutherford thinks σέλινον the “ Apium graveolens” of Linnæus, smallage, or water-parsley. — 24. Ω μοι ἐγώ. From Homer, Il. Λ. 404. Virgil, Ecl. ii. 58. "Heu! heu! quid volui misero mihi."

Thus also the old song:
"Oh dear!
what shall become of me?” Δύσσυος,
perditus,” undone, occurs at present
only in Theocritus. Comp. iv. 45.

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25. Τὰν βαίταν. My goat-skin. The clothing of the Sicilian shepherds and goatherds usually consisted of skins. See Lennep on Coluthus, vs. 105. Ἐς κύματα. Virgil, Ecl. viii. 59. " Præceps aërii specula de montis in undas Deferar.” So also Sannazarius Ecl. iii.

"Jam saxo me me ex illo demittere in undas Præcipitem jubet ipse furor.” — 26. Τὼς θύννως. Doric for τοὺς θύννους. In order to catch tunnies, which abound on the coast of Sicily, the fishermen station a watchman on the highest rocks, that project over the sea, to observe the arrival of the fish, and give the signal for drawing. Comp. Oppian, Halieut. iii. 620 seqq.

27. Κήκα δή. Doric for καὶ εἴκε &c. And if I should then die, this assuredly is your delight, i. e. you will most certainly be delighted. Δὴ for the common reading μα, or μὴ, is the correction of Graefe, and also of Tho mas Briggs in Gaisford's edition. For the particles γε μάν, see i. 71. and 95.

28. Ἔγνων πράν. Comp. ii. 115. -Οκα μεν. Doric for ὅτε μου μεμ νημένου, when as I was guessing, &c. Comp. i. 66. Meû is an Ionic, Æolic,

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Οὐδὲ τὸ τηλέφιλον ποτιμαξάμενον πλατάγησεν,
Αλλ' αὕτως ἁπαλῷ ποτὶ πάχει ἐξεμαράνθη.
Εἶπε καὶ ̓Αγροιώ ταλαθέα κοσκινόμαντις,
̔Α πρὰν ποιολογεῦσα παραιβάτις, οἵνεκ ̓ ἐγὼ μὲν
Τὶν ὅλος ἄγκειμαι· τὸ δέ μευ λόγον οὐδένα ποιῇ.
Η μάν τοι λευκὰν διδυματόκον αἶγα φυλάσσω,
Τάν με καὶ ὁ Μέρμνωνος Εριθακὶς ἁ μελανόχρως 35

and Doric form.-29. Ovdè Tò Tλéφιλον. "By one prophetic orpineleaf I found Your chang'd affection, for it gave no sound, Though on my hand struck hollow as it lay; But quickly wither'd, like your love, away." Fawkes. Tnλépiλov, according to Martin, is the orpine, a low plant, whose branches trail on the ground the leaves are small, roundish, and of a glaucus colour; the flowers small, and of a whitish green. Sprengel, i. 42. 174. supposes it to be "Sedum Anacampseros." The leaves of this plant, as also of the poppy and anemone, were used by lovers in a species of divination: the leaf, laid on the thumb and forefinger, being smartly struck with the right hand, yielded a sound from which the sentiments of the loved object were guessed. If it produced a clear sound, it was a favourable sign; otherwise the case was hopeless. See Lampe de Cymbalis Veterum, i. 10.-Поτuaάuevov. Struck upon. Hermann de Rat. Emend. Gr. Gr. p. 236. asserts that no example of a first aorist mid. can be produced in a signification really passive. Here is one, however, if the passage be not corrupt. Schneider in his Lexicon, under the word Tроσμάoow, would read Toτiμağaμévw. Meineke defends the reading in the text, citing Idyl vii. 110. and Reisig, Syntagm. Crit. p. 22.—30. 'Aîî' aŬTws. But even thus, i. e. without producing a sound. See Buttmann's Lexilogus, p. 171. seqq. ed. Fishl. Matth. Gr. Gr. $601. and comp. ii. 133.-Amaλ ποτί, They also made conjectures

from the colour or effect the leaf produced on the skin, when laid on the arm or wrist.

31. 'Aypo. Agrao, who told fortunes by means of a sieve. This kind of divination was practised chiefly to discover thieves. See Robinson's Ant. Gr. iii. 18. Butler in his Hudibras mentions "the Sieve and Sheers," as having been practised by the celebrated Merlin.- 32. 'A πράν. She who was lately gathering the ears. Comp. ii. 15. For this use of the article see note on vs. 13.-Пapaibátis. A binder, a hired female who follows the reapers, and binds the sheaves. For the various conjectures with respect to this verse, see Kiessling. Оůveka. For of Eveka, that I am wholly devoted to you. 33. Tvxos. Comp. ii. 11.—Äykeμal. Poet. for åvákel-Tù dé μev. Comp. ii. 61. 34. H μáv. Verily. This combination is used in making a solemn assertion. Comp. iv. 14. Hoogeveen, and Viger, vii. § 7. 6. Virgil closely copies these lines, Ecl. ii. 40. terea duo, nec tuta mihi valle reperti Caprioli, sparsis etiam nunc pellibus albo, Bina die siccant ovis ubera; quos tibi servo. Jampridem a me illos abducere Thestylis orat: Et faciet; quoniam sordent tibi munera nostra." Comp. xi. 40.-35. Táv μe. Verbs of asking require a double accusative in Greek, as well as in Latin. See Matth. Gr. Gr. § 417. d.— 'A Mépμvw

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vos.

"Præ

The daughter of Mermnon. For μeλavoxpws Hemsterhius with great probability conjectured μeλavóópus

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