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This alludes to the discovery of America by the Spaniards under Columbus. These ravagers are said to have made their first descent on the islands in the gulph of Florida, of which Cuba is one.

“By yon lonely brook With woods o'erhung and precipices “rude”—Such, according to the description given by Plutarch, was the scene of Brutus's death.

This Epitaph is engraven on a tombstone in the church-yard of Lethnet in the shire of Angus. November 1st. 1757.

It has been observed by some critics, who have treated of Pastoral Poetry, that, in every Poem of this kind, it is proper, that the scene or landscape, connected with the little plot or fable on which the poem is founded, be delineated with at least as much accuracy, as is sufficient to render the description particular and picturesque. How far Virgil has thought fit to attend to such a rule may appear from the remarks which the Translator has subjoined to every Pastoral.

The scene of the first Pastoral is pictured out with great accuracy. The shepherds Meliboeus and Tityrus are represented as conversing together beneath a spreading beeche-tree. Flocks and herds are feeding hard by. At a little distance we behold, on the one hand a great rock, and on the other a fence of flowering willows. The prospect as it widens is diversified with groves, and streams, and some tall trees particularly elms. Beyond all these appear marshy grounds, and rocky hills. The ragged and drooping flock of the unfortunate shepherd, particularly the she-goat which he leads along, are no inconsiderable figures in this picture.—The time is the evening of a summer day, a little before sunset. See of the Original v. 1, 5, 9, 52, 54, 57, 59, 81, &c.

This Pastoral is said to have been written on the following occasion. Augustus, in order to reward the services of his Veterans, by means of whom he had established himself in the Roman empire, distributed among them the lands that lay contiguous to Mantua and Cremona. To make way for these intruders, the rightful Owners, of whom Virgil was one, were turned out. But our Poet, by the intercession of Mecænas, was reinstated in his possessions. Meliboeus here personates one of the unhappy exiles, and Virgil is represented under the character of Tityrus.

The refinements of Taubmannus, De La Cerda, and others, who will have Amaryllis to signify Rome, and Galatea to signify Mantua, have perplexed this passage not a little: if the literal meaning be admitted, the whole becomes obvious and natural.

Augustus Cæsar.

The chief excellency of this Poem consists in its delicacy and simplicity. Corydon addresses his favourite in such a purity of sentiment as one would think might effectually discountenance the prepossessions which generally prevail against the subject of this eclogue. The nature of his affection may easily be ascertained from his ideas of the happiness which he hopes to enjoy in the company of his beloved Alexis.

It appears to have been no other than that friendship, which was encouraged by the wisest legislators of antient Greece, as a noble incentive to virtue, and recommended by the example even of Agesilaus, Pericles and Socrates: an affection wholly distinct from the infamous attachments that prevailed among the licentious. The Reader will find a full and satisfying account of this generous passion in Dr. Potter's antiquities of Greece B. iv. Chap. 9. Mons. Bayle in his Dictionary at the article Virgile has at great length vindicated our Poet from the charge of immorality which the Critics have grounded upon this pastoral.

The scene of this Pastoral is a grove interspersed with beeche-trees; the season, harvest.

The sable violet) Vaccinium (here translated violet) yielded a purple colour used in dying the garments of slaves, according to Plin. l. xvi, c. 28.

The contending shepherds Menalcas and Damœtas, together with their umpire Palæmon, are seated on the grass, not far from a row of beeche-trees. Flocks are seen feeding hard by. The time of the day seems to be noon, the season between spring and summer,

Throughout the whole of this altercation, notwithstanding the untoward subject, the Reader will find in the Original such a happy union of simplicity and force of expression and harmony of verse, as it is vain to look for in an English translation.

The abruptness and obscurity of the Original is here imitated.

In this fourth Pastoral, no particular landscape is delineated. The whole is a prophetic song of triumph. But as almost all the images and allusions are of the rural kind, it is no less a true Bucolic than the others; if we admit the definition of a Pastoral, given us by an Author of the first rank, who calls it “A poem in which any action or passion “is represented by its effects upon country life.”

It is of little importance to enquire on what occasion this poem was written. The spirit of prophetic enthusiasm that breathes through it, and the resemblance it bears in many places to the Oriental manner, make it not improbable, that our Poet composed it partly from some pieces of antient prophecy that might have fallen into his hands, and that he afterwards inscribed it to his friend and patron Pollio, on occasion of the birth of his son Saloninus.

The Author of the Rambler.

This passage has perplexed all the Critics. Out of a number of significations that have been offered, the Translator has pitched upon one, which he thinks the most agreable to the scope of the Poem and most consistent with the language of the original. The Reader, who wants more particulars on this head, may consult Servius, De La Cerda, or Ruæus.

Here we discover Menalcas and Mopsus seated in an arbour formed by the interwoven twigs of a wild-vine. A grove of hasles and elms surrounds this arbour. The season seems to be summer. The time of the day is not specified.

From this passage it is evident that Virgil thought Pastoral poetry capable of a much greater variety in its subjects, than some modern Critics will allow.

It is the most general and most probable conjecture, that Julius Cæsar is the Daphnis, whose death and deification are here celebrated. Some however are of opinion, that by Daphnis is meant a real shepherd of Sicily of that name, who is said to have invented Bucolic poetry, and in honour of whom the Sicilians performed yearly sacrifices.

This can be applied only to Julius Cæsar; for it was he who introduced at Rome the celebration of the Bacchanalian revels.

Lyctium was a city of Crete.

See Pastoral second.

See Pastoral third.

The cave of Silenus, which is the scene of this eclogue, is delineated with sufficient accuracy. The time seems to be the evening; at least the song does not cease, till the flocks are folded, and the evening star appears.

See Ovid Met. Lib. I.

Their names were Lysippe, Ipponoë, and Cyrianassa. Juno, to be avenged of them for preferring their own beauty to hers, struck them with madness, to such a degree, that they imaginined themselves to be heifers.

Gortyna was a city of Crete. See Ovid. Art. Am. Lib. I.

Atalanta. See Ovid. Metamorph. Lib. X.

See Ovid. Met. Lib. II.

A river in Bœotia arising from mount Helicon, sacred to the Muses.

Hesiod.

Grynium was a maritime town of the Lesser Asia, where were an antient temple and oracle of Apollo.

See Virgil Æn. III.

See Homer Odyss. Lib. XII.

See Ovid's Metamorph. Lib. VI.

The scene of this Pastoral is as follows. Four shepherds, Daphnis in the most distinguished place, Corydon, Thyrsis and Melibœus are seen reclining beneath an holm. Sheep and goats intermixed are feeding hard by. At a little distance Mincius fringed with reeds appears winding along. Fields and trees compose the surrounding scene. A venerable oak, with bees swarming around it, is particularly distinguished. The time seems to be the forenoon of a summer-day.

This Deity presided over gardens.

It was the property of this poisonous herb to distort the features of those who had eaten of it, in such a manner, that they seemed to expire in an agony of laughter.

In this eight Pastoral no particular scene is described. The Poet rehearses the songs of two contending swains Damon and Alphesibœus. The former adopts the soliloquy of a despairing lover: the latter chooses for his subject the magic rites of an Enchantress forsaken by her lover, and recalling him by the power of her spells.

A river in Italy.

This intercalary line (as it called by the Commentators) which seems to be intended as a chorus or burden to the song, is here made the last of a triplet, that it may be as independent of the context and the verse in the translation, as it is in the Original.—Mænalus was a mountain of Arcadia.

Medea.

This seems to be Virgil's meaning. The Translator did not choose to preserve the conceit on the words puer and mater in his version; as this (in his opinion) would have rendered the passage obscure and unpleasing to an English reader.

See Hom. Odyss. Lib. X.

This and the first eclogue seem to have been written on the same occasion.—The time is a still evening. The landscape is described at the 97th line of this translation. On one side of the highway is an artificial arbour, where Lycidas invites Mœris to rest a little from the fatigue of his journey: and at a considerable distance appears a sepulchre by the way-side, where the antient sepulchres were commonly erected.

The Critics with one voice seem to condemn this eclogue as unworthy of its Author; I know not for what good reason. The many beautiful lines scattered through it would, one might think, be no weak recommendation. But it is by no means to be reckoned a loose collection of incoherent fragments; its principal parts are all strictly connected, and refer to a certain end, and its allusions and images are wholly suited to pastoral life. Its subject though uncommon is not improper: for what is more natural, than that two shepherds, when occasionally mentioning the good qualities of their absent friend, particularly his poetical talents, should repeat such fragments of his songs as they recollected?

These lines, which Virgil has translated literally from Theocritus, may be supposed to be a fragment of the poem mentioned in the preceeding verses; or, what is more likely, to be spoken by Lycidas to his servant; something similar to which may be seen Past. 5. v. 20. of this translation—The Original is here remarkably explicit, even to a degree of affectation. This the Translator has endeavoured to imitate.

In Italia creditur luporum visus esse noxios; vocemque homini quem priores contemplentur adimere ad præsens. Plin. N. H. VIII. 22.

Bianor is said to have founded Mantua. Servius.

The scene of this Pastoral is very accurately delineated. We behold the forlorn Gallus stretched along beneath a solitary cliff, his flocks standing round him at some distance. A groupe of deities and swains encircle him, each of whom is particularly described. On one side we see the shepherds with their crooks; next to them the neatherds known by the clumsiness of their appearance; and next to these Menalcas with his clothes wet, as just come from beating or gathering winter-mast. On the other side we observe Apollo with his usual insignia; Sylvanus crown'd with flowers and brandishing in his hand the long lillies and flowering fennel; and last of all Pan, the god of shepherds, known by his ruddy smiling countenance, and the other peculiarities of his form.

Gallus was a Roman of very considerable rank, a poet of no small estimation, and an intimate friend of Virgil. He loved to distraction one Cytheris (here called Lycoris) who slighted him, and followed Antony into Gaul.