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(sudden irrigation), Aen. x. 101-104 (the hush of all Nature at Jupiter's word), ib. 821-824 (the revulsion of feeling over a fallen foe), xii. 951, 952 (the creeping chill of death, followed by the quick flight to Hades of the indignant soul). Every reader who can appreciate poetic rhythm will find others for himself. The greatness of Virgil's rhythm, its undefinable charm and pathos, its power to touch the hidden chords of human feeling, are beyond dispute and though familiar association with particular lines and passages may invest them with the expression of more than the poet's thought, such capacity of adaptation to new feelings is one more testimony to their inherent poetry. Professor Sellar 1, in the appreciative criticism which closes his volume on Virgil, cites appropriately the remarks of 'one of the greatest masters of expression among living English writers' (Cardinal Newman) upon the power of Virgil's 'single words and phrases, his pathetic half-lines giving utterance, as the voice of Nature herself, to that pain and weariness yet hope of better things which is the experience of her children in every time.' And Mr. Myers, to the poetic insight of whose criticism on Virgil I have already referred, thus happily generalises the impressions produced by Virgil's style:
'What is meant by the vague praise so often bestowed on Virgil's unequalled style is practically this, that he has been, perhaps, more successful than any other poet in fusing together the expressed and the suggested emotion; that he has discovered the hidden music which can give to every shade of feeling its distinction, its permanence, and its charm; that his thoughts seem to come to us on the wings of melodies prepared for them from the foundation of the world".'
1 'Virgil,' p. 412. The quotation is from Dr. Newman's 'Grammar of Assent.'
2 Above, sect. I, p. xii.
3 Fortnightly Review,' Feb. 1879, pp. 167, 168.
EDITIONS OF LATIN AUTHORS FROM WHICH
REFERENCES ARE CITED IN THE NOTES.
WEISE (in Tauchnitz series).
and Ars Poetica". } ORELLI.
MUNRO (Deighton, Bell & Co.).
MELIBOEUS. TITYRUS. M. TITYRE, tu patulae recubans sub tegmine fagi silvestrem tenui musam meditaris avena; nos patriae fines et dulcia linquimus arva. Nos patriam fugimus; tu, Tityre, lentus in umbra formosam resonare doces Amaryllida silvas.
T. O Meliboee, deus nobis haec otia fecit. Namque erit ille mihi semper deus, illius aram saepe tener nostris ab ovilibus imbuet agnus. Ille meas errare boves, ut cernis, et ipsum ludere quae vellem calamo permisit agresti.
M. Non equidem invideo, miror magis: undique totis usque adeo turbatur agris. En ipse capellas protenus aeger ago: hanc etiam vix, Tityre, duco. Hic inter densas corylos modo namque gemellos spem gregis, ah, silice in nuda conixa reliquit. Saepe malum hoc nobis, si mens non laeva fuisset, de caelo tactas memini praedicere quercus. [Saepe sinistra cava praedixit ab ilice cornix.] Sed tamen iste deus qui sit da, Tityre, nobis.
T. Urbem quam dicunt Romam, Meliboee, putavi stultus ego huic nostrae similem, quo saepe solemus pastores ovium teneros depellere fetus. Sic canibus catulos similes, sic matribus haedos noram, sic parvis componere magna solebam. Verum haec tantum alias inter caput extulit urbes, VOL. 1.