Et varios ponit fetus autumnus, et alte how fat the swine come off from their meal of acorns.' 'Glande' is the important word, as it is of the different fruits of different seasons that Virgil is speaking: the rest is ornamental, though quite in keeping with the picture of rural felicity and abundance. 521.] Ponit fetus:' comp. Phaedrus 2. 4. 3, "Sus nemoricultrix fetum ad imam (arborem) posuerat," a sense in which 'deponere' is also used. 'Or, for a change, autumn is dropping its various produce at his feet.' The willingness of nature is dwelt on, as in 'dant arbuta silvae.' See on v. 460. 522.] Comp. note on v. 377. 523.] Interea' divides the description of fruitfulness without from that of happiness within. Pendent circum oscula nati' is from Lucr. 3. 895,"nec dulces occurrent oscula nati Praeripere." In both these passages, as in A. 1. 256., 12. 434, osculum' is used in its primary sense as the diminutive of 'os,' from which the secondary meaning is easily inferred. 524.] 'Domus' 'familia,' in this case the wife. 'Servat,' 'keeps,' in the sense of observing. His virtuous household keeps the traditions of purity.' 525.] Lactea ubera demittunt' 'ubera lacte demissa gerunt.' Perhaps 524-526 may have been suggested by Lucr. 1. 257261. 'Fat kids, on grass luxuriant as they, are engaging together, horn against horn.' 527.]Agitare' here, as in 4. 154, A. 10. 237, is equivalent to agere.' The word is used absolutely by prose writers in the sense of 'degere.' Forcell. sub v. 'Dies festos:' keeping the old holy days would be a mark at once of the leisure and simplicity of country life. Most of the festivals in the old calendar were rural. 525 530 528.] Ignis ubi in medio :' this must be a turf-built altar, not the focus' in the house, on account of 'fusus per herbam :' so that Tibull. 2. 1. 21 and Hor. Epod. 2. 65 are not strictly parallel. The description is quite general. For 'in medio' Med. a m. pr. has ingenio,' whence Burmann conjectured 'genio.' 'Cratera coronant' seems to be a mistranslation or alteration of Homer's konтnpaçÉπEσTÉаνто πÓTOLO, which means 'filled the bowls high with wine,' whereas Virgil means 'wreath the bowl with flowers,' as appears from A. 3. 525, "magnum cratera corona Induit inplevitque mero.' 529.] 'Pecoris magistris :' comp. "oviumque magistros," E. 2. 33. 530.] Iaculi certamina ponit in ulmo:' a condensed expression for 'makes a match of darting at a mark set up in or scored on an elm.' Comp. A. 5. 66, "Prima citae Teucris ponam certamina classis," where it would be unnatural to make certamina’— praemia.' Certamen ponere,' like ȧy@va τιθέναι. 531.] Nudant:' there is a change of subject, a thing not uncommon in Virgil. The old reading 'nudat' is however supported by Pal. and Canon. 'Palaestrae 'is the reading of Med. and another MS., instead of 'palaestra,' which Heyne retains. 532.] Vitam coluere:' Lucr. has' colere aevum,' 5. 1145, 1150. The Sabini' are a type of hardiness and simplicity in Roman authors. Comp. A. 9. 603 foll., Hor. Epod. 2. 41. Livy 1. 18 talks of "disciplina tetrica ac tristi veterum Sabinorum." 533.] The mention of Etruria' has been thought to be a compliment to Maecenas ; but it is quite as likely to be an instance of Virgil's feelings for antiquity. 250 P. VERGILI MARONIS GEORGICON LIB. II. Scilicet et rerum facta est pulcherrima Roma, Sed nos inmensum spatiis confecimus aequor, 1. 534.] Scilicet:' comp. note on 282. Here, as in that passage, scilicet' is inserted rhetorically, to give importance to the words connected with it. Some place the stop after 'crevit,' taking' scilicet' with what follows. But comp. the position of 'scilicet' in the passage just referred to. Rerum pulcherrima :' looking to such expressions as 'nemorum maxima,' above, v. 15, Hor. 1 S. 9. 4, dulcissime rerum,' and Ovid, M. 8. 49, 'pulcherrime rerum,' it may be doubted whether the genitive here is a real partitive, and whether the agreement in gender of 'pulcherrima' with rerum is not merely accidental. 535] This line seems an anticlimax here, and still more where it recurs in A. 6. 783. For the importance which the Romans attached to the number of the hills which they retained, when by the expansion of the city the hills themselves were changed, see Niebuhr 1. 382 (Eng. Tr.). We must bear in mind how much the Romans thought of the grandeur of the city compared with that of the empire. 'Arces' of the hills, v. 172. 536.] Dictaei regis:' Cicero (N. D. 3. 21) speaks of three Jupiters: "tertium Cretensem, Saturni filium, cuius in illa insula sepulchrum ostenditur." 537.] Comp. Arat. Phaen. 132, Χαλκείη γενεὴ προτέρων ολοώτεροι ἄνδρες, Οἱ πρῶτοι κακόεργον ἐχαλκεύσαντο μάχαιραν Εἰνοδίην, πρῶτοι δὲ βοῶν ἐπάσαντ' ἀροτήρων. 535 540 539.] Etiam' connects 'necdum ' with 'ante,' as the former etiam' connects ante with what precedes. Audierant :' comp. the latter part of note on v. 463. 541, 542.] But I must end this long stage of my work.' 541. Spatiis:' the plural 'spatia,' as used by Virgil, seems to denote sometimes the circles of a race-course, and sometimes the passage of the racers round them. Comp. A. 5. 584., 7. 380. We may there. fore either take spatiis' in the former sense, and connect with inmensum,' as Heyne does, or take it in the latter, and connect it with 'confecimus.' Heyne refers for a similar metaphor to Tryphiodorus 664, ἐγὼ δ ̓ ἅπερ ἵππον ἐλάσσω Τέρματος ἀμφιέλισσαν ἐπιψαύουσαν ἀοιδήν. In Lucr. 6. 92 foll. the metaphor is from a foot race. 542.]Fumantia :"" equos... Fumantis sudore quatit," A. 12. 338. Rom. and some others have 'spumantia,' which seems less appropriate, though we may conceive of the necks of the horses as wet with their own fying foam ; or, if the image is that of a race, with the foam of those immediately behind them (3. 111). Quinctilian quotes the words (8. 6), but his MSS. differ as here. Charisius however supports 'fumantia.' P. VERGILI MARONIS GEORGICON LIBER TERTIUS. THE care of the various animals that are bred by the farmer forms the subject of the Third Book. These are divided into two main classes, which are distinguished in Latin as 'armenta' and 'pecudes,' the former including horned cattle and horses, the latter the smaller cattle, sheep and goats, while a word is thrown in (vv. 404-413) about dogs. The former occupies the larger portion of the book, vv. 49-283: the poet however allows himself to digress in the last paragraph of the division, vv. 242 foll., speaking of the effect of sexual passion on the whole animal creation. Even in the earlier portion the subject is not very regularly treated. Virgil commences by saying (vv. 49 foll.) that a breeder of oxen or horses ought to attend particularly to the choice of the dams. A description of a cow follows; but nothing is said of a mare. At last (vv. 72 foll.) he changes the subject to horses, but it is that he may talk, not of the dams, but of the sires. Thus instead of describing the cow and the mare, the bull and the stallion, he consults variety by describing the female of one class, the male of the other. In what follows he treats of both classes indifferently; but true to his preference of poetical ornament to practical accuracy, he does not so much generalize as confuse, using language which is sometimes applicable to oxen, sometimes to horses. At last (vv. 146 foll.) he is led to speak more particularly of the former with respect to their early training; that over, he bestows a similar paragraph on the latter. But this proportion is soon violated. Speaking of the effect of the sexual passion, he lavishes all his powers of minute description on the bull, in the well-known picture of the fight between two bulls for the same heifer (vv. 219 foll.). Horses and mares are indeed mentioned, but not with the same prominence, the former being introduced cursorily in the digression on the sexual fury of the whole animal creation, the latter forming the conclusion of that digression. In the second part of his subject Virgil is perhaps more systematic; but he digresses more. The mention of pasturing the flocks in summer and winter leads to the two celebrated descriptions (vv. 339 foll.) of a Libyan shepherd's summer and a Scythian shepherd's winter, in the latter of which special pastoral details are soon lost in a picture of the general features of the scene. And the narrative of the pestilence in Southern Italy, with which, in imitation of Lucretius, he has chosen to conclude the book, is essentially digressive, following, as it does, the fortunes of other animals besides those which are the subjects of the farmer's care, and in general being so conducted that the reader peruses it as an independent story, and does not feel the patent want of a regular peroration closing this part of the treatise. The exordium of the book has a biographical interest, as containing the most definite sketch of the project, which Virgil doubtless stood pledged to execute, of a poem in honour of the exploits of Octavianus-a plan, not of the Aeneid, but of that for which the Aeneid was accepted as a compensation. It is in the course of it that, as was mentioned in p. 141, the only passage occurs which seems as if it must have been written at a later date than that assigned to the completion of the poem as a whole. See on vv. 31, 32, 33. Te quoque, magna Pales, et te memorande canemus Cui non dictus Hylas puer et Latonia Delos, 1-48.] My song shall now embrace the themes of cattle and pasturage. The old heroic legends have been worn threadbare by other poets: mine must be a different path to fame. One day I hope to raise a deathless monument to Caesar-a trophy of his victories over the East and West, and of mine over the bards of Greece. Meanwhile Maecenas bids me to the woods again. Away to the chase.' 1.] For Pales and Apollo Nomius, see E. 5. 35. 2.] Pastor ab Amphryso:' the pastoral character of Apollo appears in the common legends as a mere episode: it appears however to have been a distinct aspect under which he was regarded by the earlier mythology. 'Ab' here serves for local description. Comp. "Turnus Herdonius ab Aricia," Livy 1. 50. 'Silvae amnesque Lycaei:' the abode of Pan, 1. 16, who is thus indirectly indicated as a third god invoked. 3.] The MSS. vary between 'carmine' and carmina,' the latter being the reading of Med. But the change is very slight, and carmine' seems less commonplace. 'Tenuissent,' the potential, not the conjunctive. All other themes which might have laid on idle minds the spell of poesy are hackneyed now.' 5.] 'Inlaudati:' much unnecessary ingenuity and learning have been wasted on this word, as may be seen from Forcellini S. V. It is a litotes like 'inamabilis,' A. 6. 438. So in Greek our nav is used for 'I condemn.' 5 10 7.] Virgil may have been thinking of Pind. Ol. 1, which dwells equally on the ivory shoulder of Pelops and his victory in the chariot race. 8.] 'Acer equis,' 'a keen charioteer,' as acerrimus armis' (A. 9. 176) is ‘a gallant warrior.' 'Temptanda via est,' 'I must explore a path,' taking 'via' in its strict sense. Comp. Hor. 3 Od. 2. 22, "Virtus negata temptat iter via," probably an imitation of Virgil, as the following words (see next note) seem to show. 9.] Comp. Ennius' epitaph on himself (Epigr. 1. 4), "volito vivu' per ora virum.” Victor,' of intellectual triumph, perhaps from Lucr. 1. 75. The word prepares us for the image developed in the following lines. Virum volitare per ora' appears to have been taken by Palladius, one of the later Latin poets (marked No. 10 in Dict. B.), as being in the mouths of men'-"Vivus in aeternum docta per ora volo," Epitaph on Cicero. It is however more probably 'hover before the faces of men.' Comp. Sall. Jug. 31, "Incedunt per ora vestra magnifici," and Hor. 2 S. 1. 64, "Nitidus qua quisque per ora Cederet." Keightley appositely refers to the belief that poets were changed into swans. See Hor. 2 Od. 20. "Volitare' is connected with 'me tollere humo.' Comp. Hor. 3 Od. 2. 23, "udam Spernit humum fugiente penna." 10-39.] The nature of the allegory contained in these lines has been much disputed. It seems clearly however to be drawn from a Roman triumph. The poet Aonio rediens deducam vertice Musas; who has just spoken of himself as a conqueror (victor') represents himself as returning from a campaign in Greece, and bringing the Muses captive from Helicon; in other words, if the old subjects of song are forestalled, he will be the first to do for Rome what Hesiod and others have done for Greece. Then he will build a votive temple by his native river to his patron god, and celebrate before it games and shows, like Roman conquerors after their triumph. The temple is to be adorned with the sculptured history of Augustus, as other temples were with the legends of their god. Having secured his own fame as the rural poet of his country, he will be able to pass to the grateful celebration of his patron's triumphs. For a different interpretation see Hurd on Horace, Vol. ii. pp. 43 foll. 10.] Primus,' &c. : imitated from Lucr. 1. 117, where Ennius is spoken of. 'In patriam,' not Mantua, as Serv., Heyne, and others think, but Italy. Virgil has before claimed to be the earliest rural poet of Italy, 2. 175, 176. 11.] 'Aonio vertice :' Helicon, as in Lucr. 1. c., but perhaps with a reference to Hesiod (Keightley). Rediens,' as from a campaign. Deducam,' lead in triumph. Comp. Hor. 1 Od. 37. 31, "Privata deduci superbo Non humilis mulier triumpho." It has been plausibly suggested that this passage is not purely metaphorical, but refers to a literal journey into Greece which we know Virgil ultimately to have taken. 12.] The epithet Idumaeas' is worse than otiose. It would be otiose if applied only to 'palmas:' but it is worse than otiose, as drawing a contrast between 'palmas' and 'Mantua.' For Idumaeas palmas' comp. Hor. 2 Ep. 2. 184, "Herodis palmetis pinguibus," and Lucan 3. 216, Stat. Silv. 5. 2. 138. Palmas:' in an inscription ap. Marin. Frat. Arv. quoted by the German editor of Forcell. (palma') it is said "Imp. Caes. ex Sicilia Eid. Nov. 15 20 Triumphavit Palmam Dedit," which is explained to mean ' in gremio Iovis collocavit.' From this it appears either that the name 'palma' was given to the branch of bay which was carried by the victor in a triumph, or that the palm itself was sometimes substituted for the bay, agreeably to the custom in the Grecian games, also adopted at Rome (Livy 10. 47) where the conqueror carried a palm branch. Comp. Pausan. 8. 48. 13.] Templum ponam:' the custom of vowing temples to the gods in battle and dedicating them after victory is too well known to need illustration: see, however, Livy 1. 11, 12., 2. 20. 14.] Propter aquam,' like the temple of Zeus by the Alpheus; a glance at the Grecian games, which he intends to emulate, though the main idea is that of a Roman triumph. 'Ingens:' the Mincio spreads into a lake close to Mantua. 16.] In medio,' in the shrine, which is to contain the image of Caesar as the presiding god. Caesar shall be the principal subject of a great poem. 17.] Imitated by Horace, A. P. 228. The reference is either to the toga picta,' worn in the triumph, or to the 'toga praetexta,' worn by the magistrates at the celebration of the games. For illi' Rom. and some others have 'illic,' not so well. 18.] Centum,' as in A. 1. 417., 4. 199., 6. 787. 'Agitabo,' will cause to be driven (by instituting games). 19] 'Lucos Molorchi,' the forest of Nemea, where Molorchus entertained Hercules. Philargyrius seems to have read 'ludos.' 20.] Crudo,' made of raw hide. His games will not be merely national, but will attract even the Greeks from Olympia and Nemea. In other words, in his heroic poem, no less than in his Georgics, he will use and improve upon Greek art. Comp. Hor. 2 Ep. 1. 32, “Venimus ad summum |