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AUTUM N.

THE

THIRD PASTORAL,

OR

HYLAS and Æ G O N.

B

To Mr. WY CHERLEY.

Eneath the shade a spreading Beech displays,

Hylas and Ægon fung their rural lays;

This mourn'd a faithlefs, that an abfent Love,
And Delia's name and Doris' fill'd the Grove.
Ye Mantuan nymphs, your facred fuccour bring; 5
Hylas and Ægon's rural lays I fing.

Thou, whom the Nine with Plautus' wit infpire, The art of Terence, and Menander's fire;

REMARK S.

This Paftoral confifts of two parts, like the viiith of Virgil, The Scene, a Hill; the Time at Sun-fet. P.

VER. 7. Thou, whom the Nine,] Mr. Wycherley, a famous

Whofe fenfe instructs us,and whose humour charms,
Whofe judgment fways us, and whofe fpirit warms!
Oh, skill'd in Nature! see the hearts of Swains, II
Their artless paffions, and their tender pains.
Now fetting Phoebus fhone ferenely bright,
And fleecy clouds were streak'd with purple light 3.

REMARK S.

author of Comedies; of which the most celebrated were the Plain-Dealer and Country-Wife. He was a writer of infinite fpirit, fatire, and wit. The only objection made to him was that he had too much. However he was followed in the fame way by Mr. Congreve; tho' with a little more correctnefs. P.

VER. 8. The art of Terence and Menander's fire;] This line alludes to that famous character given of Terence, by Cæfar:

Tu quoque, tu in fummis, ô dimidiate Menander,
Poneris, et merito, puri fermonis amator:

Lenibus atque utinam scriptis adjuncta foret vis

Comica.

So that the judicious critic fees he should have faid - with Menander's fire. For what the Poet meant, was,' that his Friend had joined, to Terence's art, what Cæfar thought wanting in Terence, namely the vis comica of Menander. Befides, --- and Menander's fire is making that the Characteristic of Menander which was not. He was distinguished for having art and comic spirit in conjunction, and Terence having only the first part, is called the half of Menander.

VER. 9. Whofe fenfe instructs us] He was always very care→ full in his encomiums not to fall into ridicule, the trap which weak and prostitute flatterers rarely efcape. For, jenfe, he would willingly have said, moral; propriety required it. But this dramatic poet's moral was remarkably faulty. His plays are all fhamefully profligate both in the Dialogue and Action. VOL. I.

E

When tuneful Hylas with melodious moan,

15

Taught rocks to weep and made the mountains groan.

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Go, gentle gales, and bear my fighs away!

To Delia's ear the tender notes convey.

As fome fad Turtle his loft love deplores,

And with deep murmurs fills the founding fhores; Thus, far from Delia, to the winds I mourn, 21 Alike unheard, unpity'd, and forlorn.

Go, gentle gales, and bear my fighs along! For her, the feather'd quires neglect their song: For her, the limes their pleasing shades deny; 25 For her, the lilies hang their heads and die. Ye flow'rs that droop, forsaken by the spring, Ye birds that, left by fummer, ceafe to fing, Ye trees that fade when autumn-heats remove, Say, is not absence death to those who love? 39 Go, gentle gales, and bear my fighs away! Curs'd be the fields that cause my Delia's stay; Fade ev'ry bloffom, wither ev'ry tree,

Die ev'ry flow'r, and perish all, but she.

What have I faid? where'er my Delia flies, 35

Let spring attend, and fudden flow'rs arise;

Let op'ning roses knotted oaks adorn,

And liquid amber drop from ev'ry thorn.,

Go, gentle gales, and bear my fighs along! The birds fhall cease to tune their ev'ning fong, 40 "The winds to breathe, the waving woods to move, And streams to murmur, e'er I cease to love. Not bubling fountains to the thirsty swain, Not balmy fleep to lab'rers faint with pain, Not fhow'rs to larks, or fun-fhine to the bee, 45 Are half so charming as thy fight to me.

Go, gentle gales, and bear my fighs away! Come, Delia, come; ah, why this long delay? Thro' rocks and caves the name of Delia sounds, Delia, each cave and echoing rock rebounds. 50 Ye pow'rs, what pleafing frenzy fooths

my mind! Do lovers dream, or is my Delia kind?

She comes, my Delia comes! Now cease my lay, And cease, ye gales, to bear my fighs away!

VARIATIONS.

VER. 48. Originally thus in the MS.

With him thro' Libya's burning plains I'll go,
On Alpine mountains tread th'eternal fnow;
Yet feel no heat but what our loves impart,
And dread no coldnefs but in Thyrfis' heart.
IMITATIONS.
Aurea duræ

VER. 37.

Mala ferant quercus; narciffo floreat alnus,

Pinguia corticibus fudent electra myricæ. Virg. Ecl. viii. P. VER. 43. etc.]

Quale fopor feffis in gramine, quale per æftum

Dulcis aquæ faliente fitim reftinguere rivo. Ecl. v. P. VER. 52. Ân qui amant, ipfi fibi fomnia fingunt? Id. viii. P.

Next Ægon fung, while Windfor groves admir'd; Rehearse, ye Muses, what yourselves inspir'd. ́Refound, ye hills, refound my mournful strain ! Of perjur'd Doris, dying I complain:

Here where the mountains, lefs'ning as they rife,
Lose the low vales, and steal into the fkies; 60
While lab'ring oxen, spent with toil and heat,
In their loose traces from the field retreat:
While curling fmoaks from village-tops are seen,
And the fleet shades glide o'er the dusky green.
Resound, ye hills, resound my mournfullay! 65
Beneath yon' poplar oft we past the day:
Oft' on the rind I carv'd her am'rous vows,
While fhe with garlands hung the bending boughs:
The garlands fade, the vows are worn away;
So dies her love, and fo my hopes decay.

70

Refound, ye hills, refound my mournful strain! Now bright Arcturus glads the teeming grain, Now golden fruits on loaded branches shine, And grateful clusters fwell with floods of wine; Now blushing berries paint the yellow grove; 75 Juft Gods! fhall all things yield returns but love?

REMARKS.

VER. 74, And grateful clusters, etc.] The fcene is in Windfor-foreft; fo this image not fo exact.

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